Wikipedia

Robert Gober

Robert Gober (born September 12, 1954) is an American sculptor. His work is often related to domestic and familiar objects such as sinks, doors, and legs.[1]

Robert Gober
Untitled (1992), mixed media, installed at Glenstone
Born (1954-09-12) September 12, 1954 (age 70)
Wallingford, Connecticut, US
EducationMiddlebury College, Vermont, Tyler School of Art in Rome
Known forSculpture

Early life and education

edit
 
Untitled (Leg) (1989-1990)
 
Short Haired Cheese (1992-1993) at the Metropolitan Museum of Art in 2022

Gober was born in Wallingford, Connecticut.[1] Gober settled in New York in 1976 and initially earned his living as a carpenter, crafting stretchers for artists and renovating lofts.[2] He also worked as an assistant to the painter Elizabeth Murray[2] for five years.[3]

Work

edit

In 1982-83, Gober created Slides of a Changing Painting, consisting of 89 images of paintings made on a small piece of plywood in his storefront studio in the East Village; he made a slide of each motif, then scraped off the paint and began again.[4] One of his most well known series of more than 50 increasingly eccentric sinks – made of plaster, wood, wire lath, and coated in layers of semi-gloss enamel[5] – he produced in the mid-1980s.[4][6]

By 1989, Gober was casting beeswax into sculptures of men's legs, completed not only with shoes and trouser legs but also human hair that was inserted into the beeswax.[6]

In the Whitney Biennial 2012, Gober curated a room of Forrest Bess's paintings and archival materials dealing with the artist's exploration into hermaphrodism.[7]

Art plays a role during the AIDS epidemic

edit

During the AIDS epidemic in the 1980s, Robert Gober, along with other artists, used art to support the AIDS Coalition to Unleash Power (ACT UP).[8] ACT UP was a large group of people that were infuriated by the lack of action from the government and scientists to stop the spread of AIDS and find a cure.[9] A few artists, including Gober, organized an art auction to help raise funds to donate to ACT UP. Gober's Untitled (Leg) (1989-1990) alone was sold at a very high price, which helped prove to the public that art can be used to make the voices of the people be heard, to fight for a cause that is important to the communities, and that art is not just a commodity, nor is art just for pleasure.[8][9]

Exhibitions

edit

In 1984, the Paula Cooper Gallery in New York hosted Gober's first solo exhibition.[2] The Art Institute of Chicago presented the artist's first museum exhibition in 1988.[10] Gober has since had exhibitions of his work in Europe and North America. He represented the United States at the 2001 Venice Biennale[11]

In 2007 there was a retrospective exhibition of his work at the Schaulager in Basel.[12]

Gober participated in the group show Lifelike that originated at the Walker Art Center in 2012.[13]

From October 2014 to January 2015, The Museum of Modern Art, New York presented "Robert Gober: The Heart Is Not a Metaphor", a 40-year retrospective of his work including approximately 130 sculptures, paintings, drawings, prints and photographs. This exhibition was the first large-scale display in the United States.[14] It was also accompanied by a catalogue of the same name including essays by Hilton Als, Ann Temkin and Christian Scheidemann, plus a chronology by Claudia Carson and Paulina Pobocha with Robert Gober.[15]

In autumn 2016, two new sculptures by Gober were included in the Artangel exhibition at Reading Prison in England.[16]

Recognition

edit

In 2013, the Hammer Museum honored Gober along with playwright Tony Kushner at its 11th Annual Gala in the Garden, with Gober being introduced by fellow artist Charles Ray.[17]

Aesthetics

edit

Traditionally the poetics associated with Rober Gober’s artworks are focused on two fields: The surreal and the spiritual: "The almost devotional artisanship imbues common objects with an uncommon gravity, along with the sense of energy, growth and vulnerability that defines real bodies." Roberta Smith.[18] “He plays with the tension between the neutered forms and the strong emotional and physical connotations we attach to them.”[19] His artworks represent "The daily human war on dirt " Peter Schjeldahl.,[20] it works both literally and symbolically. "To be cleansed is to become pure, physically and also spiritually."[21] In some cases the lavatories represent both the cyclical approach to be cleaner but the impossibility to be fully pure: "The sink still has no water, and the past will never wash off."[22]

Personal life

edit

Gober lives with his partner Donald Moffett.[23] They reside in New York City and Maine.

Gober served on the board of directors of the Foundation for Contemporary Arts (FCA).[24]

Notable works in public collections

edit

References

edit
  1. ^ a b Robert Gober Museum of Modern Art, New York.
  2. ^ a b c Robert Gober Archived 2014-02-21 at the Wayback Machine Solomon R. Guggenheim Museum, New York.
  3. ^ Robert Gober National Gallery of Art, Washington.
  4. ^ a b Roberta Smith (October 2, 2014), Reality Skewed and Skewered (Gushing, Too) – ‘Robert Gober: The Heart Is Not a Metaphor,’ at MoMA New York Times.
  5. ^ Jerry Saltz (October 1, 2014), Art Review: The Great, Inscrutable Robert Gober New York Magazine.
  6. ^ a b Jason Farago (October 3, 2014), Robert Gober opens at MoMA: sober, haunting and genuinely affecting The Guardian.
  7. ^ David Colman (March 16, 2012), Art Between the Cracks New York Times.
  8. ^ a b Katz, Jonathan D. (2015). Art AIDS America. Hushka, Rock, 1966-, Arning, Bill,, Castiglia, Christopher,, Reed, Christopher, 1961-, Helfand, Glen,, Hernandez, Robb. Seattle. pp. 46–53. ISBN 9780295994949. OCLC 917362964.{{cite book}}: CS1 maint: location missing publisher (link)
  9. ^ a b Crimp, Douglas (1987). "[Introduction]". October. 43: 3–16. doi:10.2307/3397562. JSTOR 3397562.
  10. ^ Phyllis Braff (October 7, 2001), A North Fork Artist at the Venice Biennale New York Times.
  11. ^ "La Biennale di Venezia - National Pavilion of USA". OneArtWorld. Retrieved 29 May 2011.
  12. ^ "2007".
  13. ^ Sheets, Hilarie M. (April 19, 2012). "Use Your Illusion". ARTnews. Retrieved May 3, 2013.
  14. ^ "Robert Gober: The Heart is Not a Metaphor | MoMA".
  15. ^ "Robert Gober The Heart Is Not a Metaphor | MoMA Store". Archived from the original on 2014-10-07.
  16. ^ "Inside". www.artangel.org.uk. Retrieved 2019-04-24.
  17. ^ David Ng (July 11, 2013), Hammer Museum to fete Robert Gober, Tony Kushner at gala Los Angeles Times.
  18. ^ Roberta Smith (AUG. 23, 2007), Against Delusion: Robert Gober’s Nuts-and-Bolts Americana The New York Times.
  19. ^ Craig Gholson (Oct 1, 1989), Robert Gober by Craig Gholson Bomb Magazine.
  20. ^ Peter Schjeldahl (Oct 13, 2014), Found Meanings. A Robert Gober retrospective The New Yorker.
  21. ^ David Carrier (Nov 5, 2014), Robert Gober The Heart is Not a Metaphor The Brooklyn Rail.
  22. ^ Jason Farago (Oct 3, 2014), Robert Gober opens at MoMA: sober, haunting and genuinely affecting The Guardian.
  23. ^ Jori Finkel (October 7, 2009), Opposites Attract, and an Exhibition Opens New York Times.
  24. ^ Foundation for Contemporary Arts Announces 2013 Grants to Artists Foundation for Contemporary Arts (FCA), press release of January 15, 2012.
  25. ^ "Double Sink". ArtIC. Art Institute of Chicago. 1984. Archived from the original on 15 May 2021. Retrieved 15 June 2022.
  26. ^ "Robert Gober". Rubell Museum. Archived from the original on 13 May 2021. Retrieved 15 June 2022.
  27. ^ "The Slanted Sink". NGA. National Gallery of Art. 1985. Archived from the original on 26 March 2021. Retrieved 15 June 2022.
  28. ^ "Single Basin Sink". LACMA. Los Angeles County Museum of Art. Archived from the original on 22 June 2017. Retrieved 15 June 2022.
  29. ^ "The Subconscious Sink". Walker Art. Walker Art Center. Archived from the original on 16 September 2016. Retrieved 27 September 2022.
  30. ^ "Three Parts of an X". Hirshhorn. Smithsonian Institution. Archived from the original on 15 June 2022. Retrieved 15 June 2022.
  31. ^ a b c d "Robert Gober". Glenstone. Archived from the original on 20 April 2022. Retrieved 15 June 2022.
  32. ^ "Untitled Door and Door Frame". Walker Art. Walker Art Center. Archived from the original on 27 September 2022. Retrieved 27 September 2022.
  33. ^ "Untitled Leg". MoMA. Museum of Modern Art. Archived from the original on 13 May 2022. Retrieved 15 June 2022.
  34. ^ "Drains". Tate. Archived from the original on 26 June 2021. Retrieved 15 June 2022.
  35. ^ "Untitled". Hirshhorn. Smithsonian Institution. Archived from the original on 15 June 2022. Retrieved 15 June 2022.
  36. ^ "Untitled". SFMoMA. San Francisco Museum of Modern Art. Archived from the original on 27 September 2022. Retrieved 27 September 2022.
  37. ^ "Untitled". MoMA. Museum of Modern Art. Archived from the original on 7 May 2021. Retrieved 15 June 2022.
  38. ^ "Window Window". MoMA. Museum of Modern Art. Archived from the original on 16 August 2021. Retrieved 15 June 2022.
  39. ^ "Short Haired Cheese". Met Museum. Archived from the original on 29 June 2021. Retrieved 15 June 2022.
  40. ^ "Untitled". Crystal Bridges. Archived from the original on 15 June 2022. Retrieved 15 June 2022.
  41. ^ "Untitled". Whitney. Archived from the original on 1 July 2021. Retrieved 15 June 2022.
  42. ^ "Untitled". ArtIC. Art Institute of Chicago. Archived from the original on 15 December 2020. Retrieved 15 June 2022.
  43. ^ "Untitled". Hirshhorn. Smithsonian Institution. Archived from the original on 15 June 2022. Retrieved 15 June 2022.
  44. ^ "Untitled". MoMA. Museum of Modern Art. Archived from the original on 27 September 2022. Retrieved 27 September 2022.
  45. ^ "Untitled". Centre Pompidou. 16 September 2022. Archived from the original on 27 September 2022. Retrieved 27 September 2022.
  46. ^ "Heart in a Box". Whitney. Archived from the original on 1 July 2021. Retrieved 15 June 2022.
edit
Retrieved from "https://en.wikipedia.org/w/index.php?title=Robert_Gober&oldid=1256771305"