Robert Gober
incised with the artist's signature, number and date "Robert Gober 18/35 1990" on the underside
red casting wax
2 5/8 x 3 x 7 1/2 in. (6.7 x 7.6 x 19.1 cm)
Executed in 1990, in the United States, this work is number 18 from an edition of 35 plus 6 artist's proofs.
Provenance:
Anthony Meier Fine Art, Mill Valley
Acquired from the above by the present owner
Exhibited:
New York, Barbara Gladstone Gallery, u003cemu003eRobert Gober, Craigie Horsfield and Lawrence Weineru003c/emu003e, June 9–July 27, 1990 (another example exhibited)
New York, Josh Baer Gallery, u003cemu003eThe Andrew Glover Youth Program Benefit Exhibitionu003c/emu003e, November 2–15, 1990 (another example exhibited)
New York, Jack Tilton Gallery, u003cemu003eForbidden Gamesu003c/emu003e, January 3–February 2, 1991 (another example exhibited)
Kassel, u003cemu003eDocumenta IXu003c/emu003e, June 13–September 20, 1992, p. 201 (another example exhibited and illustrated)
New York, Wooster Gardens, u003cemu003eLes Enfants Terriblesu003c/emu003e, July 1992 (another example exhibited)
Rotterdam, Museum Boymans-van Beuningen, u003cemu003ePortrait, Still Life, Landscape: A selection by Robert Wilson from the collections of the Boymans-van Beuningen Museum, Rotterdamu003c/emu003e, May 16–July 11, 1993, n.p. (another example exhibited; installation view of another example illustrated)
Ridgefield, The Aldrich Museum of Contemporary Art, u003cemu003eFall From Fashionu003c/emu003e, May 23–September 26, 1993, pp. 78-79 (another example exhibited and illustrated)
Ridgefield, The Aldrich Museum of Contemporary Art, u003cemu003e30 Years: Art in the Present Tense. The Aldrich's Curatorial History, 1964-1994u003c/emu003e, May 15–September 18, 1994, n.p. (another example exhibited)
Basel, Museum für Gegenwartskunst, u003cemu003eZimmer in denen die Zeit nicht zählt: Die Sammlung Udo und Anette Brandhorstu003c/emu003e, June 5–October 19, 1994, no. 85, p. 137 (another example exhibited)
New York, Curt Marcus Gallery and Timothy Baum, u003cemu003eSculpture as Objects: 1915-1995u003c/emu003e, April 28–May 28, 1995, n.p. (another example exhibited and illustrated)
Kunsthalle Zürich, u003cemu003ePlaypen u0026 Corpus Deliriumu003c/emu003e, October 5–December 29, 1996, p. 26 (another example exhibited)
Hamburg, Deichtorhallen, u003cemu003eEmotion - Junge britische und amerikanische Kunst aus der Sammlung Goetz/Young British and American Art from the Goetz Collectionu003c/emu003e, October 30, 1998–January 17, 1999, pp. 114, 182 (another example exhibited and illustrated, p. 114; erroneously dated 1992)
Minneapolis, Walker Art Center; Malmö, Rooseum Center for Contemporary Art; Washington, D.C., Hirshhorn Museum and Sculpture Garden; San Francisco Museum of Modern Art, u003cemu003eRobert Gober: Sculpture + Drawingu003c/emu003e, February 14, 1999–September 5, 2000, no. 90, pp. 119, 132 (another example exhibited and illustrated, p. 132)
New York, Sara Meltzer's On View, u003cemu003eI'm the Boss of Myselfu003c/emu003e, May 5–June 12, 1999 (another example exhibited)
Baltimore, The Contemporary Museum, u003cemu003eIMPACT: Revealing Sources for Contemporary Artu003c/emu003e, September 25, 1999–January 3, 2000 (another example exhibited)
Munich, Staatsgalerie moderner Kunst im Haus der Kunst, u003cemu003eFood for the Mind: Die Sammlung Udo und Anette Brandhorstu003c/emu003e, June 9–October 8, 2000, pp. 218, 248 (another example exhibited and illustrated)
New York, 48 Wall Street, u003cemu003eArt Downtown: New York Painting and Sculptureu003c/emu003e, June 14–September 15, 2002 (another example exhibited)
Los Angeles, The Museum of Contemporary Art, u003cemu003eArtist's Giftsu003c/emu003e, June 22–August 3, 2003 (another example exhibited)
Auckland Art Gallery Toi o Tamaki, u003cemu003eMixed-up Childhoodu003c/emu003e, February 24–May 22, 2005, pp. 67, 170 (another example exhibited and illustrated)
Oudenburg, Foundation De Elf Lijnen, u003cemu003eUn salon pour Louise Bourgeoisu003c/emu003e, December 17, 2006–February 17, 2007, pp. 90-91 (another example exhibited and illustrated)
Toronto, Ydessa Hendeles Art Foundation, u003cemu003eDead! Dead! Dead!u003c/emu003e, April 1, 2007–April 2008 (another example exhibited)
Charlotte, The Mint Museums, u003cemu003eContemporary, Cool and Collectedu003c/emu003e, October 20–December 30, 2007, pp. 60-61 (another example exhibited and illustrated)
Deurle, Museum Dohndt-Dhaenens, u003cemu003eAbsence is the Highest Form of Presenceu003c/emu003e, October 4–November 29, 2009 (another example exhibited)
Literature:
u003cemu003eRobert Goberu003c/emu003e, exh. cat., Jeu de Paume, Paris, 1991, p. 23
Theodora Vischer, ed., u003cemu003eRobert Gober: Sculptures and Installations, 1979–2007u003c/emu003e, Göttingen, 2007, no. S 1990.04, pp. 264–265 (another example illustrated, p. 265)
incised with the artist's signature, number and date "Robert Gober 18/35 1990" on the underside
red casting wax
2 5/8 x 3 x 7 1/2 in. (6.7 x 7.6 x 19.1 cm)
Executed in 1990, in the United States, this work is number 18 from an edition of 35 plus 6 artist's proofs.
Provenance:
Anthony Meier Fine Art, Mill Valley
Acquired from the above by the present owner
Exhibited:
New York, Barbara Gladstone Gallery, u003cemu003eRobert Gober, Craigie Horsfield and Lawrence Weineru003c/emu003e, June 9–July 27, 1990 (another example exhibited)
New York, Josh Baer Gallery, u003cemu003eThe Andrew Glover Youth Program Benefit Exhibitionu003c/emu003e, November 2–15, 1990 (another example exhibited)
New York, Jack Tilton Gallery, u003cemu003eForbidden Gamesu003c/emu003e, January 3–February 2, 1991 (another example exhibited)
Kassel, u003cemu003eDocumenta IXu003c/emu003e, June 13–September 20, 1992, p. 201 (another example exhibited and illustrated)
New York, Wooster Gardens, u003cemu003eLes Enfants Terriblesu003c/emu003e, July 1992 (another example exhibited)
Rotterdam, Museum Boymans-van Beuningen, u003cemu003ePortrait, Still Life, Landscape: A selection by Robert Wilson from the collections of the Boymans-van Beuningen Museum, Rotterdamu003c/emu003e, May 16–July 11, 1993, n.p. (another example exhibited; installation view of another example illustrated)
Ridgefield, The Aldrich Museum of Contemporary Art, u003cemu003eFall From Fashionu003c/emu003e, May 23–September 26, 1993, pp. 78-79 (another example exhibited and illustrated)
Ridgefield, The Aldrich Museum of Contemporary Art, u003cemu003e30 Years: Art in the Present Tense. The Aldrich's Curatorial History, 1964-1994u003c/emu003e, May 15–September 18, 1994, n.p. (another example exhibited)
Basel, Museum für Gegenwartskunst, u003cemu003eZimmer in denen die Zeit nicht zählt: Die Sammlung Udo und Anette Brandhorstu003c/emu003e, June 5–October 19, 1994, no. 85, p. 137 (another example exhibited)
New York, Curt Marcus Gallery and Timothy Baum, u003cemu003eSculpture as Objects: 1915-1995u003c/emu003e, April 28–May 28, 1995, n.p. (another example exhibited and illustrated)
Kunsthalle Zürich, u003cemu003ePlaypen u0026 Corpus Deliriumu003c/emu003e, October 5–December 29, 1996, p. 26 (another example exhibited)
Hamburg, Deichtorhallen, u003cemu003eEmotion - Junge britische und amerikanische Kunst aus der Sammlung Goetz/Young British and American Art from the Goetz Collectionu003c/emu003e, October 30, 1998–January 17, 1999, pp. 114, 182 (another example exhibited and illustrated, p. 114; erroneously dated 1992)
Minneapolis, Walker Art Center; Malmö, Rooseum Center for Contemporary Art; Washington, D.C., Hirshhorn Museum and Sculpture Garden; San Francisco Museum of Modern Art, u003cemu003eRobert Gober: Sculpture + Drawingu003c/emu003e, February 14, 1999–September 5, 2000, no. 90, pp. 119, 132 (another example exhibited and illustrated, p. 132)
New York, Sara Meltzer's On View, u003cemu003eI'm the Boss of Myselfu003c/emu003e, May 5–June 12, 1999 (another example exhibited)
Baltimore, The Contemporary Museum, u003cemu003eIMPACT: Revealing Sources for Contemporary Artu003c/emu003e, September 25, 1999–January 3, 2000 (another example exhibited)
Munich, Staatsgalerie moderner Kunst im Haus der Kunst, u003cemu003eFood for the Mind: Die Sammlung Udo und Anette Brandhorstu003c/emu003e, June 9–October 8, 2000, pp. 218, 248 (another example exhibited and illustrated)
New York, 48 Wall Street, u003cemu003eArt Downtown: New York Painting and Sculptureu003c/emu003e, June 14–September 15, 2002 (another example exhibited)
Los Angeles, The Museum of Contemporary Art, u003cemu003eArtist's Giftsu003c/emu003e, June 22–August 3, 2003 (another example exhibited)
Auckland Art Gallery Toi o Tamaki, u003cemu003eMixed-up Childhoodu003c/emu003e, February 24–May 22, 2005, pp. 67, 170 (another example exhibited and illustrated)
Oudenburg, Foundation De Elf Lijnen, u003cemu003eUn salon pour Louise Bourgeoisu003c/emu003e, December 17, 2006–February 17, 2007, pp. 90-91 (another example exhibited and illustrated)
Toronto, Ydessa Hendeles Art Foundation, u003cemu003eDead! Dead! Dead!u003c/emu003e, April 1, 2007–April 2008 (another example exhibited)
Charlotte, The Mint Museums, u003cemu003eContemporary, Cool and Collectedu003c/emu003e, October 20–December 30, 2007, pp. 60-61 (another example exhibited and illustrated)
Deurle, Museum Dohndt-Dhaenens, u003cemu003eAbsence is the Highest Form of Presenceu003c/emu003e, October 4–November 29, 2009 (another example exhibited)
Literature:
u003cemu003eRobert Goberu003c/emu003e, exh. cat., Jeu de Paume, Paris, 1991, p. 23
Theodora Vischer, ed., u003cemu003eRobert Gober: Sculptures and Installations, 1979–2007u003c/emu003e, Göttingen, 2007, no. S 1990.04, pp. 264–265 (another example illustrated, p. 265)
