[Gober Book] ✓ Robert Gober: The Heart Is Not a Metaphor PDF by Hilton Als ✓ eBook or Kindle ePUB free

• Title : Robert Gober: The Heart Is Not a Metaphor
• Author : Hilton Als
• Rating : 4.60 (143 Vote)
• Publish : 2014-9-21
• Format : Hardcover
• Pages : 264 Pages
• Asin : 0870709461
• Language : English

His objects and installations are among the most psychologically charged artworks of the late twentieth century, reflecting the artist's sustained concerns with issues of social justice, freedom and tolerance. In all of his work, Gober's formal intelligence is never separate from a penetrating reading of the socio-political cont

His objects and installations are among the most psychologically charged artworks of the late twentieth century, reflecting the artist's sustained concerns with issues of social justice, freedom and tolerance. In all of his work, Gober's formal intelligence is never separate from a penetrating reading of the socio-political context of his time. 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. Prepared in close collaboration with the artist, it traces the development of a remarkable body of work, highlighting themes and motifs that emerged in the early 1980s and continue to inform Gober's work today. 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. 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. In the 1990s, his practice evolved from single works to theatrical

Indicative of European care for culture? Maybe. There are real issues to be discussed in subtle ways, but Als has not done that. 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. An admirable and useful contribution to the scholarly study of the Van Eyck brothers and early Netherlandish painting.. The second half of the book is a interview with Giber that is interesting and accessable as well.. 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. Unfortunately, it is not matched by Hilton Als's catalog essay, which is shallow and self-satisfied. 226") as catalogues customarily provide? Speaking of holes, given that so many pieces are untitled, this is an odd omission. 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 assembly of reproductions of Gober's art is invaluable. And why no footnotes/citations from Als's many pretentious quotations? At least some of them are worth pursuing.Buy the book, but just look at the pictures.. It's a shame for such nuanced, thoughtful art to be introduced with crude, postur

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.

(Jed Perl The New York Review of Books)In the mid-1980's Robert Gober began to receive significant art-world attention for his sculptres of everyday domestic objects embedded with references to social justice, freedom adn tolerance. His weird world is constructed with teh meticulousness of a jeweler putting together a Faberge egg. Gober keeps his virtuosity tamped down adn under wraps. The oblique works offers a socio-political and psyhcological end-of-the-twentieth-century context to their mundane formal structures. I feel that eeriness in teh subtle shadow play he reveals in his plainly carpentered cloest, in the delicacy of human hairs inserted into the wax surface of a sculpted leg, and in the trompe l'oeil finesse with which he paints the label on the battered Benjamin Moore can. (The Editors Lambda Literary)What claims our attention is not so much Gober's quotidian subjects as the intentness with which he reconstitutes or