THE GREEN DIAMOND EAT/THE RED DIAMOND DIE, 1962

two panels
Each: 60.25 x 60.25 in.
(153 x 153 cm.)

Walker Arts Center, Minneapolis, Gift of the T.B. Walker Foundation, 1981

It’s [The Green Diamond EAT/The Red Diamond DIE] meant as a slightly different kind of diptych. They are one, it’s meant as one painting actually…it’s very personal and it should of course be personal to everyone and it’s meant in exactly that way.

. . . but the first sign [Phillips 66] that ever figured in my life, and it played a tremendous, it was a huge looming thing in my childhood for several years. My father worked for Phillips 66 and now Phillips 66 is no longer red and green, it’s red and white or something, but the man who founded Phillips 66 was a man of very bad taste and he had very bad color sense and so for years the employees, they couldn’t bear it but all the filling stations were red and green, a terrible shade of red and green.

Well since my father worked for that company and since I saw that sign every day of my life for years and since he even wore a button in it [his lapel] because he had worked for the company for ten years. I couldn’t escape it and so it’s finally come out in the EAT painting, indirectly. I haven’t done a Phillips 66 painting and I probably won’t. But it’s personal because as a child during the Depression my mother, my father left my mother, and in order to support herself and myself she opened a restaurant and so for several years things like eat signs also were a prominent part of my life so that the EAT aspect of EAT and DIE is strictly a personal thing. It’s autobiographical, this is my whole childhood.

The DIE, and it’s meant as the other side of the coin. Everybody eats, and everybody enjoys life, and everybody consumes, and very few people ever think about what all this is really leading to. And after all that is where we are all going, and I find it provocative perhaps to think about it once in a while, and that’s why the DIE is on the other side.” — Robert Indiana

 

Excerpt from Richard Stankiewicz and Robert Indiana, interview  by Jan van der Marck, Walker Art Center, Minneapolis, October 21, 1963.

Medium

Decade

View

Clear Filters
UNTITLED

UNTITLED

1945
UNTITLED

UNTITLED

1945
UNTITLED

UNTITLED

1945
UNTITLED

UNTITLED

1945
TECH

TECH

1945
500

500

1945
BEAN BUD

BEAN BUD

1945
MENE MENE TEKEL

MENE MENE TEKEL

1955-56/1989
GINKGO

GINKGO

1957/1959
HUB

HUB

1957/2005
SOURCE I

SOURCE I

1959
THE SLIPS

THE SLIPS

1959-1960
RA

RA

1960
ZIG

ZIG

1960
SOUL

SOUL

1960
OWL

OWL

1960
ORB

ORB

1960
MOON

MOON

1960
M

M

1960
HOLE

HOLE

1960
GE

GE

1960
WALL OF CHINA

WALL OF CHINA

1960 - 1961
ELECTI

ELECTI

1960-1961
MARINE WORKS

MARINE WORKS

1960-1962
MATE

MATE

1960-1962
TWO

TWO

1960-1962
JEANNE D'ARC

JEANNE D'ARC

1960-1962
BAR

BAR

1960-1962
LAW

LAW

1960-1962
STAR

STAR

1960-1962
CUBA

CUBA

1960-1962
MELVILLE

MELVILLE

1961
BALLYHOO

BALLYHOO

1961
HARDROCK

HARDROCK

1961
WOMB

WOMB

1961
SLIP

SLIP

1961
GEM

GEM

1961/1984
DOWN

DOWN

1962
UP

UP

1962
GRASS

GRASS

1962
FOR

FOR

1962
EAT/DIE

EAT/DIE

1962
HUG

HUG

1962
HUB

HUB

1962
FOUR

FOUR

1962
EAT

EAT

1962
CHIEF

CHIEF

1962
AHAB

AHAB

1962
DIE

DIE

1962/1984
X-5

X-5

1963
COLUMN LOVE

COLUMN LOVE

1963-1964
COLUMN HUG

COLUMN HUG

1963-1964
COLUMN EAT

COLUMN EAT

1963-1964
FLAGELLANT

FLAGELLANT

1963/1969
LOVE

LOVE

1964
LOVE

LOVE

1964
ONE

ONE

1965
TWO

TWO

1965
THREE

THREE

1965
FOUR

FOUR

1965
FIVE

FIVE

1965
SIX

SIX

1965
SEVEN

SEVEN

1965
EIGHT

EIGHT

1965
NINE

NINE

1965
ZERO

ZERO

1965
MODEL T

MODEL T

1966
LOVE

LOVE

1966
666

666

1966
LOVE

LOVE

1966-1999
LOVE WALL

LOVE WALL

1966/2006
LOVE

LOVE

1967
APOGEE

APOGEE

1970
ART

ART

1972-2001
AHAVA

AHAVA

1977
MONARCHY

MONARCHY

1981
FIVE

FIVE

1984
MARS

MARS

1990
ICARUS

ICARUS

1992
EVE

EVE

1997
AMOR

AMOR

1998-2006
COMET

COMET

2000