It has been many years since the world of art ceased to be aimed at a specialized elite to address itself towards the general public, although the artistic avant-gardes of the 19th century moved further away than they themselves intended from the general public –a Today, many of the avant-garde works continue to be strange to the inexperienced eye in art- during the 20th century, some of the so-called second avant-gardes went the other way, taking art down new paths that paradoxically brought it closer to popular aesthetics. This was the case of Pop Art, one of the avant-garde movements that has had the greatest impact since its creation due to its friendly theme with products close to the general public and its colorful aesthetic that brings it closer to advertisements than to traditional pictorial forms.
The truth is that even today many of the works of pop art are not known as such by society despite the fact that they recognize their image for having seen it embodied over and over again in different formats; this is the case of some of Robert Clark's works since, despite the fact that many of his most iconic works such as LOVE or HOPE are recognizable,few tend to identify them as authentic works of the pop aesthetic.
Robert Clark, better known as Robert Indiana because he was originally from the state of Indiana, was born in September 1928. Between 1949 and 1953 he studied at the Art Institute of Chicago andlater he continued his training at other institutions such as the University of Edinburgh or the School of Maine. Some of the most influential painters in the world at this time left their mark on Clark's work, so for example his relationship with the artist Ellsworth Kelly is essential to understand the simplicity of his forms.
In the mid-sixties the artist received the commission that would make him known worldwide, Robert Indiana, who had already triumphed with other works such as The American Dream, was selected by the MOMA in New York to create a postcard of Christmas. The design chosen by the artist could not be simpler, the canvas divided into four spaces of equal size and each of them occupied by a different letter so that the word is divided into two syllables, LO above and Ve below. A simple and functional message that has also had more contradictory readings when finding the letter O rotated to the right and with negative colors. The original letters were red and the background was blue and green.
Indianadid not trademark his production design so numerous copies have surfaced in variousformats. Today in some of the most famous streets of the great world cities such as New York or Tokyo we find large sculptures with this same design made by the artist himself. In New York for example, in addition to the LOVE sculpture we can find another piece with the same design that reads HOPE.