ROBERT INDIANA | AMOR

Morgan Art Foundation, Switzerland
Acquired from the above by the present owner circa 2000

Colour: The colours in the catalogue illustration are fairly accurate although the overall tonality is lighter, brighter and more vibrant in the original. Condition: This work is in very good condition. Very close inspection reveals a thin layer of dust which has deposited in the crevices of the work. Extremely close inspection reveals a few extremely minute and unobtrusive specks of superficial loss to the extreme lower edge on the reverse of the O. No restoration is apparent when examined under ultraviolet light.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Robert Indiana’s sculptures became an emblem of 1960s idealism, a symbol of love in the wake of fear. Indiana’s word sculptures are instantly recognisable, monumental in scale and AMOR is utterly exemplary of the artist’s oeuvre: an icon of Pop Art. The famed compositional arrangement of the letters LOVE or in the case of the present work AMOR, was conceived by Indiana for a Christmas card commissioned by the Museum of Modern Art, New York, in 1965, five years after the museum had for the first time acquired a work of his.  Coated in a bright, shimmering blue patina, with rich, vibrant red peeking through from the insides of the letters; Indiana’s sculptures are instantly recognisable and eye-catching. The characters that form Indiana’s AMOR take on qualities independent of their meaning, with the combination of sinuous curves and sharp lines, combined with the playfully tilting circular form of the 'O', creating an object that exudes a sense of exquisite grace despite its solidity.

AMOR is symbolic of Indiana’s youth: the fiery red acts as a homage to the Phillips 66 gasoline company where his father worked during the Great Depression. The pristine blue reflects the expansive mid-western skies. The work depicts the characteristics of roadside signs and signals which is reminiscent of Indiana’s childhood. The signs became a fixation for the artist, who admired their ability to encapsulate intangible meanings, desires and emotions in a straightforward and accessible presentation. Indiana’s striking sculptures stand as shrines to the achievements of our contemporary world, reminding us of our links to one another, despite differences in politics, sexuality and religion. “I have a real desire to break through prejudice, if possible, not on the level of the popular artists, by meeting their requirements head on, but obliquely. The LOVE is certainly an exercise in that direction. It’s had a frustrating aspect to it, but it never occurred to me that it would become the kind of popular thing that it is” (Simon Salama-Caro et al, Robert Indiana, New York 2006, p .72).