The Decade Portfolio

1971 . The complete portfolio, comprising ten screenprints in colours, 1971, on Schoellers Parole paper, each signed in pencil, dated and numbered from the edition of 200 (there were also 25 artist's proofs), with the title and justification pages, contained in the individual screenprinted folders and original black cloth-covered portfolio box, printed by Domberger KG, Bonladen, published by Multiples, Inc., New York, 101.5 x 83.5 x 5 cm. (portfolio size)

Including: The American Dream; The Calumet; Yield Brother; The Figure 5; The Brooklyn Bridge; Mississippi; USA 666; Parrot; Black and White Love; and Terre Haute No. 2
The present portfolio is one of Indiana's most autobiographical works. Created in 1971, the 'Decade' series is a reflection back on the artist's previous ten years, which was a pivotal period for popular culture and the US as a nation, as well as his own career. The artist considered this work as a continuation of his earlier 'American Dream' series, which was the first time Indiana began to incorporate images taken from pin-ball machines, billboards and American road signs in order to blend the literal with the visual to make 'a comment on the superficiality of American life,' as Indiana once described.

Looking at the individual works in the series, 'The Brooklyn Bridge' uses the iconic emblem of New York to refer to the view from Indiana's studio that he had on the Slip in Manhattan. A self-described 'American painter of signs,' Indiana's 'USA 666' is a clear reference to American railway signs, the bright yellow being used to draw attention to the danger at crossing points. The numbering reminds us of Route 66, an important American highway loaded with nostalgic symbolism from literature and popular songs. It also carries a more personal reference; the number six relates to the digits of his father's birth month and the 'Philips 66' sign of the gasoline company that employed his father. Undeniably, 'Yield Brother' is inspired by the stencilled lettering of military signage. This creates a tension between its call for peace and its visual look of a military poster, which recalls the 1960s anti-war movement in America that Indiana strongly supported.
Sheehan 63-72