Quotes from Robert Indiana

Those damned Abstract Expressionists. They were a major problem. Because the critics adored them to such an extent, reams and reams, pages and pages of articles about Abstract Expressionists, when we came along, we were just not taken seriously at all.

Many, many of my paintings have come from the first chapter of Moby Dick.

I realize that protest paintings are not exactly in vogue, but I've done many.

I'm a little disappointed in what's happened. I'm beginning to lose faith in Obama. This Syria thing is ridiculous. He should not be drawing red lines.

When I was painting portraits and - shall we say? - rather allegorical heads, which is the figurative work which immediately preceded the direction I have since gone, these images were always of a very fixed, rigid quality, and, of course, my work still has this aspect.

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.

The actual technique, the process of painting flat color and simple geometric edges, all dates from my time here on Coenties Slip.

I was the least Pop of all the Pop artists.

I realize that protest paintings are not exactly in vogue, but I've done many.

I think of my peace paintings as one long poem, with each painting being a single stanza.

'LOVE' bit me. It was a marvelous idea, but it was also a terrible mistake. It became too popular; it became too popular.

The American Dream - that's our folly. That's our folly. Look where we're ending up.

I have been writing poetry ever since I was in high school. My poetry mainly concerned the theme of love. And that, of course, is an endless subject.

I didn't think much about Marsden Hartley until very recently, but Gertrude Stein found him to be the best American painter in Europe at the time she was alive. I consider my tributes to him my most important works.

I never had the exposure to techniques and so forth that children have today with art workshops, but I always had crayons and pencils and still have work going right back to when I was five or six years old.

My goal is that LOVE should cover the world.

Love is a dangerous commodity-fraught with peril.

There are people who don't like popularity. It's much better to be exclusive and remote.

Some people like to paint trees. I like to paint love. I find it more meaningful than painting trees.

It would be my intention that everybody should have love, and there are a lot of people in the world.

I've always been fascinated by numbers. Before I was seventeen years old, I had lived in twenty-one different houses. In my mind, each of those houses had a number.

When I was a kid, my mother used to drive my father to work in Indianapolis, and I would see, practically every day of my young life, a huge Phillips 66 sign. So it is the red and green of that sign against the blue Hoosier sky. The blue in the 'Love' is cerulean. Therefore, my 'Love' is an homage to my father.

My art is a disciplined high dive - high soar, simultaneous & polychromous, an exaltation of the verbal-visual... my dialogue.

There are only two people in 'Eat' - myself and my favorite cat, Pachiki - and for 40 minutes, I eat one mushroom.