Robert Gober

Sculpture, Photographs, and Works on Paper

Sculpture, Photographs, and Works on Paper

Robert Gober

Untitled 1985
Graphite on paper

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Gober began his celebrated series of sink sculptures in 1984. The following year, when this drawing was made, he began distorting the forms of his sinks with a more complicated production process. The zigzagging sink seen in Untitled resembles The Inverted Sink (1985), now in the collection of the Albright-Knox Art Gallery in Buffalo.

Robert Gober

Untitled 1985
Graphite on paper

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Robert Gober

Untitled 1998
Cast brass, stainless steel, polyurethane paint

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Robert Gober

Tree tree 2019
Graphite on paper in artist’s frame

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“Roots, branches, and leaves are common, usually romantic, metaphors in song and poetry. In Gober’s sculptures the enduring tree is a key player in a tragic universe.”
—Brenda Richardson

Robert Gober

Tree tree 2019
Graphite on paper in artist’s frame

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Robert Gober

Untitled 1987
Fabric paint and carbon on linen

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Robert Gober

Untitled 1979/2007
Hand-painted unique linoleum-block print on paper

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Robert Gober

Cat Litter 1990
Cast plaster, vinyl-acrylic, graphite, ink

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“The artist’s uncannily accurate, detailed re-creations of material facts from the everyday world are to varying degrees discomfiting and functionless versions of their originals. As such they take on a primarily symbolic role. His pieces are always ciphers of memory and loss, memory and regret, humor and pathos.”
—James Rondeau

Robert Gober

Cat Litter 1990
Cast plaster, vinyl-acrylic, graphite, ink

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Robert Gober

Short Haired Cheese 1992–1993
Beeswax, human hair

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Robert Gober

Untitled 1991
Photolithographs on J. B. Green paper, three sheets

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Robert Gober

Heat 1989
Two bound volumes in a slipcase

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Robert Gober

Hanging Man/Sleeping Man 1989
Hand-printed silkscreen on paper

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“When I first saw the wallpaper, it seemed to go on and on, which meant that the vulnerability of that sleeping man and the vulnerability of that murdered body went on and on, too. There was no getting any distance from it. Sometimes, when I look at a work of art, the hard thing that an artist is saying about place or history, or their combined effects on the body and on the psyche, becomes glossed over, worked out in such a way that I can ‘take it.’ I couldn’t take Gober’s work, not at first. The coolness of his palette, the clinical nature of his creations, only made it harder to recover from. The beauty of his line confused me; did it express a distance from or a triumph over the chaos of the times?”
—Hilton Als

Robert Gober

Hanging Man/Sleeping Man 1989
Hand-printed silkscreen on paper

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Robert Gober

Newspaper 1992
Photolithography on archival Mohawk Superfine paper, twine

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Gober’s sculptures of bundled newspapers from 1992 are some of his most iconic artworks. Made during a time of political upheaval, they often feature articles and images that highlight the concerns of the day. Newspaper features the table of contents from an issue of The Village Voice published shortly after artist David Wojnarowicz’s death from AIDS-related illness.

Robert Gober

Newspaper 1992
Photolithography on archival Mohawk Superfine paper, twine

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Robert Gober

Untitled 2010–2011
Photo etching on copper hand-printed
on Shikoku paper, hand-distressed

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Robert Gober

Page 11 1978–2000
Gelatin silver print

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Robert Gober

Page 12 1978–2000
Gelatin silver print

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Robert Gober

Death Mask 2008
Plaster, watercolor, graphite

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Robert Gober

Untitled 2017
Graphite and pastel on vellum

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Robert Gober

Untitled 1992
Beeswax, human hair

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Robert Gober

Arms Bed Apple 1994–2019
Printed cotton fabric, beeswax, oil and acrylic paint,
varnish, epoxy putty, archival paper, wood

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Robert Gober

Untitled 1976
Pigmented-ink print

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Robert Gober

Untitled 2012
Glazed porcelain with imbedded pigments,
brass, paper, artist’s frame

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“If I could be worried about mud-slinging, I would have been dead long ago.”
—Eleanor Roosevelt

Robert Gober

Untitled 2012
Glazed porcelain with imbedded pigments,
brass, paper, artist’s frame

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