Robert Gober: The Heart Is Not a Metaphor
| Author | : | |
| Rating | : | 4.65 (815 Votes) |
| Asin | : | 0870709461 |
| Format Type | : | paperback |
| Number of Pages | : | 264 Pages |
| Publish Date | : | 2013-07-07 |
| Language | : | English |
DESCRIPTION:
Ann Temkin is an American art curator, and currently the Marie-Josée and Henry Kravis Chief Curator of Painting and Sculpture at the Museum of Modern Art in New York.Hilton Als is an American writer and theater critic who writes for The New Yorker.Claudia Carson is archivist and registrar to Robert Gober.Paulina Pabocha is Assistant Curator in the Department of Painting and Sculpture at The Museum of Modern Art.Christian Scheidemann is the Senior Conservator and President of Contemporary Conservation Ltd.
iamnotmakingup said Marvelous Art, Shallow Essay, Omitted Data. This assembly of reproductions of Gober's art is invaluable. Unfortunately, it is not matched by Hilton Als's catalog essay, which is shallow and self-satisfied. A gay man, Gober is lauded by Als for not angling for a slice of "the victim pie"—ok, so he is one of those *good* marginalized people who does not speak of inequity or make his sexuality too explicit in his work? Yet there is quite a lot of focus on "the hole" of a gay man's body/psyche—so his sexuality essentializes his art? Oh, and right, Als is gay too, so it all makes sense, even when he assumes a tone of superiority about th. A very enjoyable exploration of Gober's work. Andrea Beck Absolutely gorgeous book that is accessible and engaging. I bought it because I had to read and research about Robert Gober but was pleased to find that I genuinely enjoyed reading the book from cover to cover. Hilton Als has written a sort of first person discussion of Gober's work that feels intimate and personal. The second half of the book is a interview with Giber that is interesting and accessable as well.. D-M-R said poor MoMA. ?. I was very surprised at the lack of quality in print, scale, reproductions (!!), typesetting, and design of this book in comparison to Schaulager, Basel's Gober retrospective exhibition book. Indicative of European care for culture? Maybe. I suppose that's why Steidl/Schaulager's "poor MoMA. ?" according to D-M-R. I was very surprised at the lack of quality in print, scale, reproductions (!!), typesetting, and design of this book in comparison to Schaulager, Basel's Gober retrospective exhibition book. Indicative of European care for culture? Maybe. I suppose that's why Steidl/Schaulager's 2007 book is already going for $225 in like-new condition. Not withstanding the budgeting needs of massive distribution (MoMA's probably much greater than Schaulager's,) this book could have been stunning, and for the same price. This book serves merely as a cheaply produced reference to Gober's work/history without doing the. 007 book is already going for $"poor MoMA. ?" according to D-M-R. I was very surprised at the lack of quality in print, scale, reproductions (!!), typesetting, and design of this book in comparison to Schaulager, Basel's Gober retrospective exhibition book. Indicative of European care for culture? Maybe. I suppose that's why Steidl/Schaulager's 2007 book is already going for $225 in like-new condition. Not withstanding the budgeting needs of massive distribution (MoMA's probably much greater than Schaulager's,) this book could have been stunning, and for the same price. This book serves merely as a cheaply produced reference to Gober's work/history without doing the. "poor MoMA. ?" according to D-M-R. I was very surprised at the lack of quality in print, scale, reproductions (!!), typesetting, and design of this book in comparison to Schaulager, Basel's Gober retrospective exhibition book. Indicative of European care for culture? Maybe. I suppose that's why Steidl/Schaulager's 2007 book is already going for $225 in like-new condition. Not withstanding the budgeting needs of massive distribution (MoMA's probably much greater than Schaulager's,) this book could have been stunning, and for the same price. This book serves merely as a cheaply produced reference to Gober's work/history without doing the. 5 in like-new condition. Not withstanding the budgeting needs of massive distribution (MoMA's probably much greater than Schaulager's,) this book could have been stunning, and for the same price. This book serves merely as a cheaply produced reference to Gober's work/history without doing the
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. In all of his work, Gober's formal intelligence is never separate from a penetrating reading of the socio-political context of his time. 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.Robert Gober was born in 1954 in Wallingford, Connecticut. In the 1990s, his practice evolved from single works to theatrical room-sized environments. Robert Gober rose to prominence in the mid-1980s and was quickly acknowledged as one of the most significant artists of his generation. Early in his career, he made deceptively simple sculptures of everyday objects--beginning with sinks and moving on to domestic furniture such as playpens, beds and doors. He lives and works in New York.. Gober's curatorial projects have been shown at The Institute of Contemporary Art, Boston; The Menil Collection, Houston; Hammer Museum, Los Angeles; and the Whitney Museum of American Art, New York. In 2001, he represented the United States at the 49th Venice Biennale
(The Editors Lambda Literary)What claims our attention is not so much Gober's quotidian subjects as the intentness with which he reconstitutes ordinary objects; this is his way of possessing them. Gober's laconic perfectionism lends humdrum stuff an eeriness. (Peter Schjeldahl The New Yorker) . Gober keeps his virtuosity tamped down adn under wraps. (The Editors THE Magazine)The heart is an excitable physical organ that registers sensations of fight or flight and of love or aversion: the first and last unimpeachable witness to what can't help but matter, for good