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Six

1960–62

Images

A 62 1/8 by 18 by 22 1/8 inch sculpture consisting of a wooden beam with a haunched tenon, on a base. The bottom two thirds of the beam is painted black. A large iron wheel has been affixed to the left and right bottom sides of the sculpture, and in between the wheels a wooden peg protrudes from the front of the sculpture. At the top of the black section of the sculpture the work's title, "Six," is painted in yellow stenciled letters. Above this is a strip consisting of thin metal wire, above which the sculpture is exposed wood painted with two vertical rows of three red circles.

Six

1960–62

Gesso, oil, wood, wire, and iron wheels on wood

62 1/8 × 18 × 22 1/8 in. (157.7 × 45.7 × 56.2 cm)

 

Photo: Courtesy of Waddington Custot, London; Artwork: © Morgan Art Foundation Ltd./Artists Rights Society (ARS), NY

Installation view of Robert Indiana: Beyond LOVE, Whitney Museum of American Art, New York, September 26, 2013–January 5, 2014, featuring the verso of Six (1960–62), to the right of Two (1960–62),  

Installation view of Robert Indiana: Beyond LOVE, Whitney Museum of American Art, New York, September 26, 2013–January 5, 2014, featuring the verso of Six (1960–62), to the right of Two (1960–62)

 

Photo: Tom Powel Imaging

Description

Phyllis Tucman: Do you consider your word constructions sculptures?

Robert Indiana: Yes, Basically, they’re stelae. They’re also herms. I had a great interest in classical art—the wood forms are based on the herm figure minus the heads. That came about gradually. They preceded my paintings. First the words appeared on the herms and then, as I began to be able to afford canvas and stretchers, the paintings happened—although they started out, as you can see, very small.

Tuchman: Do you use a different strategy for sculpture than painting?

Indiana: My polychrome sculptures are more of a challenge. There’s more to do. My paintings are really rather simple and uncomplicated. Surfaces are easily arrived at. With my sculpture, I carved away relief letters; I bound the pieces in wires; I attached ropes and wheels. It’s just a more involving medium.

 

Phyllis Tuchman, "Pop! Interviews with George Segal, Andy Warhol, Roy Lichtenstein, James Rosenquist, and Robert Indiana," Artnews 73 (May 1974), p. 29.