A Quote by Robert Indiana

I realize that protest paintings are not exactly in vogue, but I've done many. — © Robert Indiana
I realize that protest paintings are not exactly in vogue, but I've done many.
Vogue Magazine does something really interesting here: They make it look like I know exactly what I'm doing. Because Vogue made it look like I knew exactly what I'm doing, stores from all over started calling.
My drawings and paintings were done as an act of protest; I was trying by means of my work to convince the world that it is ugly, sick and hypocritical.
I like having young assistants in my office; they have energy, and I spend time with them to make sure they understand what we're doing. By investing in them, I'm investing in the magazine. All over 'Vogue,' 'Teen Vogue,' and 'Men's Vogue,' there are people who have been through not only my office but also many other offices at 'Vogue.'
Within two months I made the grand slam: covers of 'American Vogue', 'Italian Vogue', 'British Vogue', and 'French Vogue'.
Who doesn't want to shoot for 'Vogue?' I remember updating my Facebook status to say 'Doing 'Vogue' today', it was so exciting. I thought it would be really intimidating, and I don't like photoshoots, but that was the most relaxed one I've done.
I think that people tend to look at the paintings as being resolved or finite. But, to me, a painting can be an index for all of the paintings I've done and all of the paintings I'm going to do. It's like if I'm doing a film of the Olympics, I'm not examining a specific sport; I'm interested in the overall context.
Unlike the background in many of the paintings that I was inspired by or paintings that I borrowed poses from - the great European paintings of the past - the background in my work does not play a passive role.
There is a right to protest in our country, but at times the manner in which the protest is done breaks all permissible levels. I don't agree with it at all.
Often, I find it really hard to see what I'm doing when I'm in the thick of things. I can get too precious and have to force myself to put my paintings aside. There's a wall in my studio where I hang paintings that I think are done or nearly done. Over time, I'll realise which ones are working and which aren't.
'Vogue' is a very specific world. You are 'Vogue,' or not 'Vogue.'
I think neoliberalism is vulnerable to protest. And it's under protest because people are beginning to realize that these austerity policies are really market-driven policies designed to punish the poor, the working classes, and the middle classes by simply distributing wealth upwards.
When 'Teen Vogue' started out, 'Teen Vogue' was an aspirational fashion magazine for fashion lovers. You know, it was the little sister to 'Vogue.' And over the years, we've realized that our mission was really to become more focused on making this an inclusive community that speaks to every kind of young person.
The black person is the protagonist in most of my paintings. I realized that I didn't see many paintings with black people in them.
I guess there was a little bit of a slight rebellion, maybe a little bit of a renegade desire that made me realize at some point in my adolescence that I really liked pictures that told stories of things - genre paintings, historical paintings - the sort of derivatives we get in contemporary society.
The spot paintings and spin paintings were trying to find mechanical ways to make paintings.
I want to create a thousand paintings, maybe two thousand paintings, as many as I can draw.
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