Peachy the Magazine December 2013 - Page 82

Museum Mile due to the fact that the much anticipated Donna Tartt novel of the same name chronicles the fascination of a young boy from New York (fittingly) with this very painting. Tartt’s novel, in which this painting serves as a coprotagonist of sorts, was coincidentally published on the same day that the Frick show opened—win,win. Post Frick, stroll up Madison Avenue (stop at Via Quadronno for a pick-me-up Robert Indiana, LOVE, 1968. Aluminum. Whitney Museum of American Art, New York; Purchase, with funds from the Howard and Jean Lipman Foundation, Inc. © 2013 Morgan Art Foundation, Artists Rights Society (ARS) 82 PEACHY latte if need be) and hit the Whitney Museum of America Art for a bit of Amore and Seventies Performance Art worship. Robert Indiana was known for his iconic Love paintings, sculptures and silkscreens. Some claim the insane popularity of this image was the artist’s ruination, indeed an ironic twist for a POP artist. “Robert Indiana: Beyond Love” reveals the depth of Indiana’s work and the span of his extended career. Much of his work from the 1960s has an apocalyptic quality, reflecting the nation’s raw social and political upheaval. While figurative images are rare for Indiana, there is a striking diptych as one enters the show, “Mother and Father.” It could keep any Freudian busy on the oedipal front for quite some time. New York Times critic Ken Johnson commented on the show: “Indiana’s paintings are richly ambiguous, they unsettle fixed categories, and they are ravishing to behold.” There clearly is a lot to love about the work of Robert Indiana. Also on view at the Whitney is “Rituals of Rented Island: Object Theater, Loft Performance, and the New Psychodrama—Manhattan, 1970–1980.” Of late, New York has celebrated and, yes, idealized the alternative art of the 1970s. In that fraught decade, painting barely