Here is a post from one of my summer interns, Lucie Alig, that speaks for itself.
My desk in the conservation lab was situated amongst Renaissance sculptures, ornately painted vases, African artifacts, and yet I was there to devote myself to one specific artwork far too large for any lab: Robert Indiana’s 1970 sculpture, LOVE. Needless to say, it is a piece that prompts a nod of recognition. Whether identifiable from its centralized positioning on the grounds of the IMA, or through its plastic incarnation as a dangling, mass-produced key chain, most everyone seems familiar with the trademark tilt of LOVE’s “O,” as it has been so hopefully interpreted to symbolize a movement forward or—in the case of my research of LOVE’s conservation history—a rather complicated stepping back.
Lucie Alig considers LOVE
