Unlike the larger works but like most of Gober’s prints, these multiples are always direct replicas of their sources. Installation views of Robert Gober: Marcus Bunyan black and white archive: Its realism is the departure point for broad avenues of symbolic and psychological meaning. Introduction by Ann Temkin. Threads collapsed expanded unthreaded. They imbue familiar forms with unfamiliar weight.
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In this untitled work, the wax body, truncated at the waist, fits so flush against the wall that one imagines trunk, arms, and head on the other side. All three rooms of that original presentation are reconstructed: Childhood, sexuality, illness, religion. Gober hangs it right at the robsrt, because with his art you never leave home.
Robert Gober: The Heart Is Not a Metaphor
If you would like to reproduce text from a MoMA publication or moma. His work explores the boundaries of identity and place. This sculpture was made for an installation at a museum in Paris, where it emerged from a wall papered with a forest scene. One pair of legs, lying on the floor, has three fat candles sticking out foresr them: The Museum of Modern Art,p. Robert Gober Untitled Inside and outside rrobert scrambled, and so does the symbolism of the sinks: Gober keeps his virtuosity tamped down adn under wraps.
Gober is best known for his deliberately, yet subtly, handmade sculptures of sinks, doors, cribs and other household items and furniture, as well as human legs — complete with bristly black hair — that act as storytelling props to evoke themes of politics, religion and sexuality.
Storytelling, written into the introductory didactic text, is employed from the onset as UntitledUntitled Leg and Untitled Closet signify the importance of both internal and external dialogue in narrative — the interior of a dingy closet, with no door reveals the artists proclivity to delve into his own past experiences; the leg protruding from the wall intimates that Gober himself is somewhere within the walls of the exhibition, perhaps throughout the installations, hiding in plain sight to reveal remarkably prescient details about his biography and the world he came of age in — a world marked by the Aids epidemic, the culture wars, discrimination against and movements for racial, sexual and gender equality, and a continuing culture of overseas warfare.
His handmade wax and plaster objects, of disembodied legs or of a flour sack with human breasts, reinscribed personal histories and deep emotion into American sculpture, after decades when the avant-garde disdained anything that smelled of narrative.
Childhood marks us for life. Claudia Carson is archivist and registrar to Robert Gober. Their political force has not waned either. Bodies grow and bodies fester. The heart is an excitable physical organ that registers sensations of fight or flight and of love or aversion: The sinks, which vary in form, shape and scale, began as elegantly austere objects with no plumbing or fixtures.
They speak a language just beyond our understanding, but which is all the more powerful since we only understand it fforest parts. A major installation that features a headless Jesus spouting water, and lithographs of the Times from 12 Septemberfeels uncomfortably pat.
For access to motion picture film stills please contact the Film Study Center. Published in conjunction with the first large-scale survey of the artist’s career to take place in the United States, this publication presents his works in all media, including individual sculptures and immersive sculptural environments, as well as a distinctive selection of drawings, prints and photographs.
Intimate in mood as well as scale, these are produced in small editions of unique objects, a seeming paradox that means that the items are individually handmade yet nearly identical. In the s, his practice evolved from single works to theatrical room-sized environments. Finally, in the middle of the room rests an excessively large brown cigar Cigar, cured and made from hundreds of tobacco leaves harvested from a Pennsylvania farm.
Robert Gober opens at MoMA: sober, haunting and genuinely affecting | Art and design | The Guardian
Robert Gober American, born The Ascending Sink Plaster, wood, steel, wire lath, and semi-gloss enamel paint Two components, each: Museum of Modern Art, New York. To find out more, including how to control cookies, see here: An essay by Hilton Als is complemented by an in-depth chronology featuring a rich selection of images from the artist’s archives, including never-before-published photographs of works in progress. Where the faucets should be are only two little holes, and drains are absent too, which turns the sinks into surprisingly anthropomorphic sculptures: Gober, who is gay, responded to the tragedy with poetic indirection: