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Lot 788
Robert Gober (b. 1954)
Untitled
Fermé18 May 2017
Prix réalisé
USD 125,000
Plus d'informations
Robert Gober (b. 1954)
Untitled
signed, numbered and dated 'R. Gober '92 6/15' (on the underside)
beeswax and human hair
3 x 3 1/4 x 7 3/4 in. (7.6 x 8.2 x 19.6 cm.)
Executed in 1992. This work is number six from an edition of fifteen plus three artist's proofs.
Untitled
signed, numbered and dated 'R. Gober '92 6/15' (on the underside)
beeswax and human hair
3 x 3 1/4 x 7 3/4 in. (7.6 x 8.2 x 19.6 cm.)
Executed in 1992. This work is number six from an edition of fifteen plus three artist's proofs.
Robert Gober (b. 1954)
Untitled
signed, numbered and dated 'R. Gober '92 6/15' (on the underside)
beeswax and human hair
3 x 3 1/4 x 7 3/4 in. (7.6 x 8.2 x 19.6 cm.)
Executed in 1992. This work is number six from an edition of fifteen plus three artist's proofs.
Untitled
signed, numbered and dated 'R. Gober '92 6/15' (on the underside)
beeswax and human hair
3 x 3 1/4 x 7 3/4 in. (7.6 x 8.2 x 19.6 cm.)
Executed in 1992. This work is number six from an edition of fifteen plus three artist's proofs.
Paula Cooper Gallery, New York
Acquired from the above by the present owner, 1992
Acquired from the above by the present owner, 1992
J. Rapmund and K. Schampers, eds., Collection Modern Art: Boymans-van Beuningen Museum Rotterdam, Rotterdam, 1993; pp. 18 and 57 (another example illustrated).
Odinea Pamici, "Robert Gober," Juliet, April-May 1995, p. 56 (another example illustrated).
M. Kramer, "To Fix the Image in Memory/Dem Bild einen festen Platz im Gedächtnis verleihen," in J-C. Ammann and A. Weinberg, eds., View from Abroad: European Perspectives on American Art 2, exh. cat., New York, Whitney Museum of American Art, 1996, pp. 137-160.
J. Reginato, "The Art of Living", W Magazine, March 2000, p. 502 (another example illustrated).
H. Cotter, "A Postwar Survey, Semi-Wild at Heart", The New York Times, 29 September 2000, p. E30 (another example illustrated).
K. Varnedoe, "Innocence and Experience", MoMA: The Magazine of The Museum of Modern Art, October 2000, pp. 1 and 3 (another example illustrated).
J-C Ammann and H. Schwebel, eds., Katharina Fritsch, Robert Gober, exh. cat., Frankfurt, Museum für Moderne Kunst, 2001, p. 19 (another example illustrated).
R. Lauter, Für Jean-Christophe Ammann, Frankfurt, 2001, p. 218 (another example illustrated).
M. Kramer, "Robert Gober's Drain Man - Eine Werkbetrachtung," in Rolf Lauter, Frankfurt, Museum für Moderne Kunst Frankfurt and Societäts-Verlag, 2001, pp. 216-219 (another example illustrated).
M. Schneede, Mit Haut und Haaren: Der Körper in der zeitgenössischen, Cologne, 2002, p. 110 (another example illustrated).
A. Bee, Zehn Jahre Museum für Moderne Kunst Frankfurt am Main, Frankfurt, 2003, pp. 190, 267 and 421 (another example illustrated).
A. Braun, Robert Gober: Werke von 1976 bis heute, Nürnberg, 2003, pp. 272-273 (another example illustrated).
K. Varnedoe, P. Antonelli and J. Siegel, eds., Modern Contemporary: Art Since 1980 At MoMA, Second Edition, New York, 2004, p. 316 (another example illustrated).
U. Kittelmann, Blancanieves y los siete enanitos: una exposición sobre la presencia del blanco acompañado de un poco de rojo y una pizca de negro, exh. cat., Santander, Fundación Marcelino Botin, 2005, p. 33 (another example illustrated).
G. Riello and P. McNeil, eds., Shoes: A History from Sandals to Sneakers, New York, 2006, p. 366 (another example illustrated).
J. Nasser, "The Real Thing", Dan's Hampton Style, 3 August 2007, p. 58 (another example illustrated).
T. Vischer, ed., Robert Gober: Sculptures and Installations 1979-2007, Basel, 2007, pp. 336 and 367 (another example illustrated).
Odinea Pamici, "Robert Gober," Juliet, April-May 1995, p. 56 (another example illustrated).
M. Kramer, "To Fix the Image in Memory/Dem Bild einen festen Platz im Gedächtnis verleihen," in J-C. Ammann and A. Weinberg, eds., View from Abroad: European Perspectives on American Art 2, exh. cat., New York, Whitney Museum of American Art, 1996, pp. 137-160.
J. Reginato, "The Art of Living", W Magazine, March 2000, p. 502 (another example illustrated).
H. Cotter, "A Postwar Survey, Semi-Wild at Heart", The New York Times, 29 September 2000, p. E30 (another example illustrated).
K. Varnedoe, "Innocence and Experience", MoMA: The Magazine of The Museum of Modern Art, October 2000, pp. 1 and 3 (another example illustrated).
J-C Ammann and H. Schwebel, eds., Katharina Fritsch, Robert Gober, exh. cat., Frankfurt, Museum für Moderne Kunst, 2001, p. 19 (another example illustrated).
R. Lauter, Für Jean-Christophe Ammann, Frankfurt, 2001, p. 218 (another example illustrated).
M. Kramer, "Robert Gober's Drain Man - Eine Werkbetrachtung," in Rolf Lauter, Frankfurt, Museum für Moderne Kunst Frankfurt and Societäts-Verlag, 2001, pp. 216-219 (another example illustrated).
M. Schneede, Mit Haut und Haaren: Der Körper in der zeitgenössischen, Cologne, 2002, p. 110 (another example illustrated).
A. Bee, Zehn Jahre Museum für Moderne Kunst Frankfurt am Main, Frankfurt, 2003, pp. 190, 267 and 421 (another example illustrated).
A. Braun, Robert Gober: Werke von 1976 bis heute, Nürnberg, 2003, pp. 272-273 (another example illustrated).
K. Varnedoe, P. Antonelli and J. Siegel, eds., Modern Contemporary: Art Since 1980 At MoMA, Second Edition, New York, 2004, p. 316 (another example illustrated).
U. Kittelmann, Blancanieves y los siete enanitos: una exposición sobre la presencia del blanco acompañado de un poco de rojo y una pizca de negro, exh. cat., Santander, Fundación Marcelino Botin, 2005, p. 33 (another example illustrated).
G. Riello and P. McNeil, eds., Shoes: A History from Sandals to Sneakers, New York, 2006, p. 366 (another example illustrated).
J. Nasser, "The Real Thing", Dan's Hampton Style, 3 August 2007, p. 58 (another example illustrated).
T. Vischer, ed., Robert Gober: Sculptures and Installations 1979-2007, Basel, 2007, pp. 336 and 367 (another example illustrated).
New York, Barbara Gladstone Gallery, Exhibition to Benefit The Robert Mapplethorpe Laboratory for AIDS Research New England Deaconess Hospital, January 1993 (another example exhibited).
Bignan, Domaine de Kerguéhennec, De la main à la tête, l’object théorique, May-September 1993 (another example exhibited).
Frankfurt, Museum für Moderne Kunst Frankfurt am Main, Szenenwechsel V/Change of Scene V, January-May, 1994 (another example exhibited).
Milan, Claudia Gian Ferreti Arte Contemporanea, Nudo & Crudo, January-March 1996, pp. 34-35 (another example exhibited and illustrated).
New York, Whitney Museum of American Art and Frankfurt, Museum für Moderne Kunst Frankfurt am Main, Views from Abroad 2: European Perspectives on American Art 2, October 1996-May 1997, p. 133 (another example exhibited and illustrated).
Frankfurt, Museum für Moderne Kunst Frankfurt am Main, Szenenwechsel XI/Change of Scene XI, January-May 1997 (another example exhibited).
New York, The Museum of Modern Art, On the Edge: Contemporary Art from the Werner & Elaine Dannheisser Collection, September 1997-January 1998, p. 48 (another example exhibited and illustrated).
Deichtorhallen Hamburg, Emotion: Young British and American Artists from the Goetz Collection, October 1998-January 1999 (another example exhibited).
Sammlung Hauser und Wirth in der Lokremise St. Gallen, The oldest possible memory, May-October 2000, p. 80 (another example exhibited and illustrated).
CAPC Musée d’art contemporain de Bordeaux, Presumed Innocent, June-October 2000, p. 33 (illustrated).
New York, The Museum of Modern Art, Open Ends: Innocence and Experience, September 2000-January 2001 (another example exhibited).
Frankfurt, Museum für Moderne Kunst Frankfurt am Main, Szenenwechsel XVIII/Change of Scene XVIII, September 2000-March 2001 (another example exhibited).
SITE Santa Fe, Fifth International Biennial. Disparities and Deformations: Our Grotesque, July 2004-January 2005, p. 60 (another example exhibited and illustrated).
Santander, Fundaciòn Marcelino BotÍn, Snow White and the Seven Dwarfs, April-June 2005, p. 33 (another example exhibited and illustrated).
Frankfurt, Museum für Moderne Kunst Frankfurt am Main, Spinning the Web: The E-bay Connection, September 2005-January 2006 (another example exhibited).
Southampton, The Parrish Art Museum, All the More Real, August-October 2007, p. 65 (another example exhibited and illustrated).
New York, The Museum of Modern Art, Wunderkammer: A Century of Curiosities, July-November 2008 (another example exhibited).
Rotterdam, Museum Boymans-van Beuningen, The Art of Fashion: Installing Allusions, September 2009-January 2010 (another example exhibited).
Hamburg, Bucerius Kunst Forum, Genuine Illusions: The Art of Trompe-l'oeil, February-May 2010 (another example exhibited).
Kunstmuseum Wolfsburg, Art & Fashion. Between Skin and Clothing, March-August 2011, p. 42 (another example exhibited and illustrated).
The Contemporary Austin, A Secret Affair: Selections from the Fuhrman Family Collection, May-August 2014, p. 58 (another example exhibited and illustrated).
New York, Disturbing Innocence, October 2014-January 2015 (another example exhibited).
New York, The FLAG Art Foundation, A Secret Affair: Selections from the Fuhrman Family Collection, February-May 2015 (another example exhibited).
Philadelphia Museum of Art, Embracing the Contemporary: The Keith L. and Katherine Sachs Collection, June-September 2016 (another example exhibited).
Bignan, Domaine de Kerguéhennec, De la main à la tête, l’object théorique, May-September 1993 (another example exhibited).
Frankfurt, Museum für Moderne Kunst Frankfurt am Main, Szenenwechsel V/Change of Scene V, January-May, 1994 (another example exhibited).
Milan, Claudia Gian Ferreti Arte Contemporanea, Nudo & Crudo, January-March 1996, pp. 34-35 (another example exhibited and illustrated).
New York, Whitney Museum of American Art and Frankfurt, Museum für Moderne Kunst Frankfurt am Main, Views from Abroad 2: European Perspectives on American Art 2, October 1996-May 1997, p. 133 (another example exhibited and illustrated).
Frankfurt, Museum für Moderne Kunst Frankfurt am Main, Szenenwechsel XI/Change of Scene XI, January-May 1997 (another example exhibited).
New York, The Museum of Modern Art, On the Edge: Contemporary Art from the Werner & Elaine Dannheisser Collection, September 1997-January 1998, p. 48 (another example exhibited and illustrated).
Deichtorhallen Hamburg, Emotion: Young British and American Artists from the Goetz Collection, October 1998-January 1999 (another example exhibited).
Sammlung Hauser und Wirth in der Lokremise St. Gallen, The oldest possible memory, May-October 2000, p. 80 (another example exhibited and illustrated).
CAPC Musée d’art contemporain de Bordeaux, Presumed Innocent, June-October 2000, p. 33 (illustrated).
New York, The Museum of Modern Art, Open Ends: Innocence and Experience, September 2000-January 2001 (another example exhibited).
Frankfurt, Museum für Moderne Kunst Frankfurt am Main, Szenenwechsel XVIII/Change of Scene XVIII, September 2000-March 2001 (another example exhibited).
SITE Santa Fe, Fifth International Biennial. Disparities and Deformations: Our Grotesque, July 2004-January 2005, p. 60 (another example exhibited and illustrated).
Santander, Fundaciòn Marcelino BotÍn, Snow White and the Seven Dwarfs, April-June 2005, p. 33 (another example exhibited and illustrated).
Frankfurt, Museum für Moderne Kunst Frankfurt am Main, Spinning the Web: The E-bay Connection, September 2005-January 2006 (another example exhibited).
Southampton, The Parrish Art Museum, All the More Real, August-October 2007, p. 65 (another example exhibited and illustrated).
New York, The Museum of Modern Art, Wunderkammer: A Century of Curiosities, July-November 2008 (another example exhibited).
Rotterdam, Museum Boymans-van Beuningen, The Art of Fashion: Installing Allusions, September 2009-January 2010 (another example exhibited).
Hamburg, Bucerius Kunst Forum, Genuine Illusions: The Art of Trompe-l'oeil, February-May 2010 (another example exhibited).
Kunstmuseum Wolfsburg, Art & Fashion. Between Skin and Clothing, March-August 2011, p. 42 (another example exhibited and illustrated).
The Contemporary Austin, A Secret Affair: Selections from the Fuhrman Family Collection, May-August 2014, p. 58 (another example exhibited and illustrated).
New York, Disturbing Innocence, October 2014-January 2015 (another example exhibited).
New York, The FLAG Art Foundation, A Secret Affair: Selections from the Fuhrman Family Collection, February-May 2015 (another example exhibited).
Philadelphia Museum of Art, Embracing the Contemporary: The Keith L. and Katherine Sachs Collection, June-September 2016 (another example exhibited).
Note du spécialiste
“As potent stimulants of memory and emotion, Gober’s works disturb us because of their uncanny familiarity, their curious juxtapositions of one object with another, and their potential to activate latent desires and anxieties in the viewer.” (O.Visio, “Life’s Small Epiphanies,” Robert Gober: The United States Pavilion 49th Venice Biennale, exh. cat., Art Institute of Chicago, 2001, p. 14)