A Quote by Robert Indiana
I really have to think of myself as a painter first because sculpture came much, much later. As a student at the Art Institute in Chicago, I simply never became involved in sculpture. I did prints, and I did paintings.
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After painting comes Sculpture, a very noble art, but one that does not in the execution require the same supreme ingenuity as the art of painting, since in two most important and difficult particulars, in foreshortening and in light and shade, for which the painter has to invent a process, sculpture is helped by nature. Moreover, Sculpture does not imitate color which the painter takes pains to attune so that the shadows accompany the lights.
First of all I think of puppets as sculpture. They are sculpture that moves. You could label it any way you want, but for me it always starts in my mind as a sculpture.
I really don't have a theme when I start a sculpture. The rock guides me to the final sculpture. I think that is true for many creative sculpture artists.
I love to draw-pencil, ink pen-I love art. When I go on tour and visit museums in Holland, Germany or England-you know those huge paintings?-I'm just amazed. You don't think a painter could do something like that. I can look at a piece of sculpture or a painting and totally lose myself in it.
I paint - I tend more to abstraction - but not as much as I would like to because of time. I would love to do sculpture - I've toyed with the idea of fitting in a sculpture course.
The paintings to me are always canvas, sculpture has always been metal, though I have made sculpture in wood also.
The paintings to me are always canvas; sculpture has always been metal, though I have made sculpture in wood, also.
The thing with sculpture is, 90% of the time, when I pass a piece of sculpture, it's in public or somewhere, and it's just, how inconvenient that that's there. It takes up so much room, and it's so oppressive.
It could be that people want to consume sculpture the way they consume paintings - through photographs... I'm interested in the experience of sculpture in the place where it resides.
Here's the thing that I think really pushed me, was my versatility. Because when I came in to the movie business, all the stunt men were specialists. If you did horse work, that's all you did. If you did cars and motorcycles, you did that. But when I came in, I taught myself how to do everything.
I love sculpture, and minimal sculpture is really my favorite stuff, but I wasn't very good at it, and I don't think in a three-dimensional way.
In sculpture did ever anybody call the Apollo a fancy piece? Or say of the Laocoon how it might be made different? A masterpiece of art has in the mind a fixed place in the chain of being, as much as a plant or a crystal.
Interfacing street sculpture in public space creates an installation environment that turns regular space into art space. Signs and people and everything around a street sculpture-they all become part of it. A two-dimensional work, being confined to surfaces, doesn't have as much of a capacity.
Man is really not freeing many aspects. He is dependent on his social circumstances, but he is free in his thinking, and here is the point of origin of sculpture. For me the formation of the thought is already sculpture. The thought is sculpture.
There is the potential for much more spontaneity with prints than there is with the sculpture, which tends to be very slow, accretive kind of process-labor intensive.
For me, architecture is an art the same as painting is an art or sculpture is an art. Yet, architecture moves a step beyond painting and sculpture because it is more than using materials. Architecture responds to functional outputs and environmental factors. Yet, fundamentally, it is important for me to stress the art in architecture to bring harmony.
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