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Lot 162
Robert Gober (b. 1954)
Drain
Fermé10 July 2020
Prix réalisé
USD 250,000
Plus d'informations
Robert Gober (b. 1954)
Drain
incised with the artist's signature, title, number and date 'R. Gober '89 6 of 8 Drain' (on the underside)
cast pewter
4 ¼ x 4 ¼ x 2 7/8 in. (10.8 x 10.8 x 7.6 cm.)
Executed in 1989. This work is number six from an edition of eight plus two artist's proofs.
Drain
incised with the artist's signature, title, number and date 'R. Gober '89 6 of 8 Drain' (on the underside)
cast pewter
4 ¼ x 4 ¼ x 2 7/8 in. (10.8 x 10.8 x 7.6 cm.)
Executed in 1989. This work is number six from an edition of eight plus two artist's proofs.
Robert Gober (b. 1954)
Drain
incised with the artist's signature, title, number and date 'R. Gober '89 6 of 8 Drain' (on the underside)
cast pewter
4 ¼ x 4 ¼ x 2 7/8 in. (10.8 x 10.8 x 7.6 cm.)
Executed in 1989. This work is number six from an edition of eight plus two artist's proofs.
Drain
incised with the artist's signature, title, number and date 'R. Gober '89 6 of 8 Drain' (on the underside)
cast pewter
4 ¼ x 4 ¼ x 2 7/8 in. (10.8 x 10.8 x 7.6 cm.)
Executed in 1989. This work is number six from an edition of eight plus two artist's proofs.
Paula Cooper Gallery, New York
Private Collection, New York, 1989
Galerie Max Hetzler, Cologne
The Peter Norton Collection, 1992
Anon. sale; Christie’s, New York, 13 November 2014, lot 450
Acquired from the above by the present owner
Private Collection, New York, 1989
Galerie Max Hetzler, Cologne
The Peter Norton Collection, 1992
Anon. sale; Christie’s, New York, 13 November 2014, lot 450
Acquired from the above by the present owner
M. Johnson, "Sad Story of a Starving Artist", The New York Post, October 5, 1989, p. 6.
“Red Flag for Jesse Helms,” San Francisco Examiner, October 12, 1989.
R. Smith, “The Reinvented Americana of Robert Gober’s Mind,” The New York Times, October 13, 1989, p. C28.
M. Sundell, ”Robert Gober,” Seven Days, October 18, 1989, p. 73.
G. Bordowitz, “Who is Art?,” Outweek, October 22, 1989, pp. 56 and 63.
Elizabeth Hess, “Artbeat”, The Village Voice, October 31, 1989, p. 63 (another example illustrated).
Robert Gober, exh. cat., Museum Boymans van- Beuningen/ Kunsthalle Bern, 1990 pp. 5, 78 (another example illustrated).
E. Heartney, "No Holes Barred," ARTnews, January 1990, p. 35 (another example illustrated).
K. Johnson, “Cleaning House,” Art in America, January 1990, pp. 150-151 (another example illustrated).
T. R. Myers, “Reviews,” Flash Art, January-February 1990, p. 129 (another example illustrated).
G. Faust, “New York in Review," Arts Magazine, January 1990, p. 101 (another example illustrated).
R. Mahoney, “Reviews,” Contemporanea, February 1990, p. 95 (another example illustrated).
R. Flood, “Robert Gober: Special Editions, An Interview,” Print Collector’s Newsletter, March-April 1990, p. 8 (another example illustrated).
N. Princethal, “Rooms with a View,” Sculpture Magazine, March-April 1990, p. 28 (another example illustrated).
W. Lippert, “Von Gewisper der Bilder," Jahresing 37, November 1990, pp. 60-61 (another example illustrated).
R. Puvogel, "Monographie: Robert Gober," Kunstforum International, January-February 1991, p. 269 (another example illustrated). Robert Gober, exh. cat., Madrid: Museo Nacional Cento de Arte Reina Sofia, 1991, pp. 38-39 (another example illustrated).
Robert Gober, Parkett No. 27, March 1991, p. 27 (another example illustrated).
H. Szeemann, "The Fount of Youth Gober la Bourgeoisie!," Parkett No. 27, March 1991, p. 77(another example illustrated).
N. Francis, Robert Gober: Recreating the Object and the Body, B.A. thesis, DePauw University, May 15, 1991, fig. 37 (another example illustrated).
M. Schor, “You Can’t Leave Home Without It,” Artforum, October 1991, p. 116 (another example illustrated).
D. Sobel, Recent Narrative Sculpture, exh. brochure, Milwaukee Art Museum, 1992.
Transform: BildObjektSkulptur im 20. Jahrhundert, Kunstmuseum und Kunsthalle Basel, 1992, p. 197 (another example illustrated).
B. Sewell, "Penile Dementia," The Daily Standard, March 4, 1993.
S. Kent, “UnAmerican Dreams,” Time Out London, March 17-24, 1993, pp. 18-19.
T. Hilton, “To Wow or Not to Wow?,” The Independent, March 21, 1993.
W. Feaver, “Of Couples and Their Cat Litter," The Observer, March 21, 1993.
W. Packer, “Morbid Modern Message,” The Financial Times, March 23, 1993.
S. Morgan, "Robert Gober," Art Monthly, April 1993, p. 21.
"Robert Gober's Wax Legs and Cat Litter Take London by Storm," The Art Newspaper, April 1993.
G. Auty, "Plugging His Cause," The Spectator, July 10, 1993, p. 36.
E. Cooper, "The Waste of Lives: Art Reviewed by Emmanuel Cooper," Gay Times, August 1993.
J. eanne Siegel, “Dévoiler le Corps Masculin/Unveiling the Male Body,” Art Press, September 1993, p. 26.
M. Agassi, "The Incredible Mystery of Robert Gober," Studio: Israeli Art Magazine No. 47, October-November 1993, p. 30 (another example illustrated).
Zimmer in Denen die Zeit Nicht Zahlt: Die Sammlung Udo und Anette Brandhorst, Basel: Musuem fur Gegenwartskunst, 1994, p. 128 (another example illustrated).
O. and P. Oliveeira, Installation Art, London, 1994, p. 132 (another example illustrated).
J-U Albig, "Zu Hause Herrschten die Dämonen der Kindheit," Art Das Kunstmagazin, December 1994, p. 64 (another example illustrated).
A. Braun, Robert Gober - Werke von 1976 bis heute, Nürnberg, 2003, pp. 169 and 170 (another example illustrated).
H. Foster, Prosthetic Gods, Cambridge, 2004, p. 326 (another example illustrated).
M. Petry, Hidden Histories, London, 2004, p. 91 another example illustrated).
S. Van Scoy, "Robert Gober: From Reality to Restitution," Art Criticism, Vol. 20, No. 2, 2005, pp. 63-78.
R. Gober and E. Sussman, "Robert Gober: This is How it Was," Modern Painters, July-August 2007, p. 55 (another example illustrated).
S. Engberg, Lifelike, Minneapolis: Walker Art Center, 2012, p. 179 (another example illustrated).
“Red Flag for Jesse Helms,” San Francisco Examiner, October 12, 1989.
R. Smith, “The Reinvented Americana of Robert Gober’s Mind,” The New York Times, October 13, 1989, p. C28.
M. Sundell, ”Robert Gober,” Seven Days, October 18, 1989, p. 73.
G. Bordowitz, “Who is Art?,” Outweek, October 22, 1989, pp. 56 and 63.
Elizabeth Hess, “Artbeat”, The Village Voice, October 31, 1989, p. 63 (another example illustrated).
Robert Gober, exh. cat., Museum Boymans van- Beuningen/ Kunsthalle Bern, 1990 pp. 5, 78 (another example illustrated).
E. Heartney, "No Holes Barred," ARTnews, January 1990, p. 35 (another example illustrated).
K. Johnson, “Cleaning House,” Art in America, January 1990, pp. 150-151 (another example illustrated).
T. R. Myers, “Reviews,” Flash Art, January-February 1990, p. 129 (another example illustrated).
G. Faust, “New York in Review," Arts Magazine, January 1990, p. 101 (another example illustrated).
R. Mahoney, “Reviews,” Contemporanea, February 1990, p. 95 (another example illustrated).
R. Flood, “Robert Gober: Special Editions, An Interview,” Print Collector’s Newsletter, March-April 1990, p. 8 (another example illustrated).
N. Princethal, “Rooms with a View,” Sculpture Magazine, March-April 1990, p. 28 (another example illustrated).
W. Lippert, “Von Gewisper der Bilder," Jahresing 37, November 1990, pp. 60-61 (another example illustrated).
R. Puvogel, "Monographie: Robert Gober," Kunstforum International, January-February 1991, p. 269 (another example illustrated). Robert Gober, exh. cat., Madrid: Museo Nacional Cento de Arte Reina Sofia, 1991, pp. 38-39 (another example illustrated).
Robert Gober, Parkett No. 27, March 1991, p. 27 (another example illustrated).
H. Szeemann, "The Fount of Youth Gober la Bourgeoisie!," Parkett No. 27, March 1991, p. 77(another example illustrated).
N. Francis, Robert Gober: Recreating the Object and the Body, B.A. thesis, DePauw University, May 15, 1991, fig. 37 (another example illustrated).
M. Schor, “You Can’t Leave Home Without It,” Artforum, October 1991, p. 116 (another example illustrated).
D. Sobel, Recent Narrative Sculpture, exh. brochure, Milwaukee Art Museum, 1992.
Transform: BildObjektSkulptur im 20. Jahrhundert, Kunstmuseum und Kunsthalle Basel, 1992, p. 197 (another example illustrated).
B. Sewell, "Penile Dementia," The Daily Standard, March 4, 1993.
S. Kent, “UnAmerican Dreams,” Time Out London, March 17-24, 1993, pp. 18-19.
T. Hilton, “To Wow or Not to Wow?,” The Independent, March 21, 1993.
W. Feaver, “Of Couples and Their Cat Litter," The Observer, March 21, 1993.
W. Packer, “Morbid Modern Message,” The Financial Times, March 23, 1993.
S. Morgan, "Robert Gober," Art Monthly, April 1993, p. 21.
"Robert Gober's Wax Legs and Cat Litter Take London by Storm," The Art Newspaper, April 1993.
G. Auty, "Plugging His Cause," The Spectator, July 10, 1993, p. 36.
E. Cooper, "The Waste of Lives: Art Reviewed by Emmanuel Cooper," Gay Times, August 1993.
J. eanne Siegel, “Dévoiler le Corps Masculin/Unveiling the Male Body,” Art Press, September 1993, p. 26.
M. Agassi, "The Incredible Mystery of Robert Gober," Studio: Israeli Art Magazine No. 47, October-November 1993, p. 30 (another example illustrated).
Zimmer in Denen die Zeit Nicht Zahlt: Die Sammlung Udo und Anette Brandhorst, Basel: Musuem fur Gegenwartskunst, 1994, p. 128 (another example illustrated).
O. and P. Oliveeira, Installation Art, London, 1994, p. 132 (another example illustrated).
J-U Albig, "Zu Hause Herrschten die Dämonen der Kindheit," Art Das Kunstmagazin, December 1994, p. 64 (another example illustrated).
A. Braun, Robert Gober - Werke von 1976 bis heute, Nürnberg, 2003, pp. 169 and 170 (another example illustrated).
H. Foster, Prosthetic Gods, Cambridge, 2004, p. 326 (another example illustrated).
M. Petry, Hidden Histories, London, 2004, p. 91 another example illustrated).
S. Van Scoy, "Robert Gober: From Reality to Restitution," Art Criticism, Vol. 20, No. 2, 2005, pp. 63-78.
R. Gober and E. Sussman, "Robert Gober: This is How it Was," Modern Painters, July-August 2007, p. 55 (another example illustrated).
S. Engberg, Lifelike, Minneapolis: Walker Art Center, 2012, p. 179 (another example illustrated).
New York, Paula Cooper Gallery, Robert Gober, September-October 1989.
Antwerp, Galerij Micheline Szwajcer, Works from Robert Gober and Bruce Nauman, November-December 1989 (another example exhibited).
Santa Monica, Shoshana Wayne Gallery, The Lick of the Eye, July-September 1991 (another example exhibited).
Milwaukee Art Museum, Currents 20/ Recent Narrative Sculpture, March-May 1992 (another example exhibited).
Cologne, Galerie Max Hetzler and Thomas Borgman, Robert Gober, On Kawara, Mike Kelley, Martin Kippenberger, Jeff Koons, Albert Oehlen, Julian Schnabel, Cindy Sherman, Thomas Struth, Philip Taaffe, Christopher Wool, May-June 1992, p. 17 (another example exhibited and illustrated).
London, Serpentine Gallery and Tate Liverpool, Robert Gober, March-August 1993 (another example exhibited; front cover illustration).
Basel, Museum fur Gegenwartskunst, Zimmmer in denen die Zeit nicht zählt: Die Sammlung Udo und Anette Brandhorst, June-October 1994, p. 128 (another example exhibited and illustrated).
Paris, Institut Néerlandais, Avant-première d'un musée - Le Musée d'Art Contemporain de Gand, September-October 1996 (another example exhibited).
Gent, Museum Van Hedendaagse Kunst and Watou, S.M.A.K., Voor het verdwijnt en daarna, June-September 1998 (another example exhibited).
Minneapolis, Walker Art Center; Malmö, Rooseum Center for Contemporary Art; Washington, D.C., Smithsonian Institution Hirshhorn Museum and Sculpture Garden; San Francisco Museum of Modern Art, Robert Gober: Sculpture + Drawing, February 1999-September 2000, p. 99 (another example exhibited and illustrated).
Munich, Staatsgalerie moderner Kunst im Haus der Kunst, Food for the Mind: Die Sammlung Udo und Anette Brandhorst, June-October 2000 (another example exhibited).
Baltimore Museum of Arts, BodySpace, February-May 2001, n.p. (another example exhibited and illustrated).
New York, D'Amelio Terras, 5 Sculptures, January-February 2002 (another example exhibited).
London, White Cube, The Unthought Known, March-April 2002 (another example exhibited).
Oslo, Astrup Fearnley Museet for Moderne Kunst, Realitetsfantasi(another example exhibited).er - Post Modern Art from the Astrup Fearnley Collection, May-September 2002 (another example exhibited).
Pori, Porin Taidemuseo, Transformer, September-November 2002 (another example exhibited).
Oslo, Astrup Fearnley Museet for Moderne Kunst, Robert Gober Displacements, February-April 2003, p. 45 (another example exhibited and illustrated).
Mount Kisco, Foundation To-Life, Inc., Exhibition Space, Presence, March 2003 (another example exhibited).
New York, Dickinson Roundell, Aftershock: The Legacy of the Readymade in Post-War and Contemporary American Art, May-June 2003 (another example exhibited).
Oklahoma City Museum of Art; Reno, Nevada Museum of Art and Mobile Museum of Art, An International Legacy: Selections from Carnegie Museum of Art; January-April 2003, n.p. (another example exhibited and illustrated).
Ishøj, ARKEN Museum for Moderne Kunst, Bull's Eye: Works from the Astrup Fearnley Collection, June-August 2003 (another example exhibited).
University of Cambridge, Kettle's Yard, The Unhomely, November 2003-January 2004 (another example exhibited).
New York, Guggenheim Museum, Singular Forms (Sometimes Repeated): Art from 1951 to the Present, Mary-May 2004 (another example exhibited).
Osaka, National Museum of Art and Yokohama Museum, Mirrorical Returns: Marcel Duchamp and the 20th Century Art, November 2004-March 2005 (another example exhibited).
Minneapolis, Luxury Art Hotel, Chambers, Chambers, Important If True (Hootenanny in E.), August-November 2008 (another example exhibited).
Gent, Hoger Instituut voor Schone Kunsten, You Can't Go Home Again, December 2008-January 2009 (another example exhibited).
Munich, Museum Brandhorst, Group Exhibition, May-Summer 2010 (another example exhibited).
Paris, Palais de Tokyo, Chasing Napoleon, October 2009-January 2010 (another example exhibited).
Herford, Marta Herford, Invisible Shadows - Images of Uncertainty, September-Novmember 2010 (another example exhibited).
Pittsburgh, Carnegie Museum of Art, Ordinary Madness, October 2010-January 2011 (another example exhibited).
São Paulo Biennial Pavilion, Em Nome Dos Artistas - Classicos Da Arte Contemporânea Na Coleção Astrup Fearnley (In the Name of the Artists - classics of contemporary art from the Astrup Fearnley collection), September-December 2011 (another example exhibited).
Antwerp, Galerij Micheline Szwajcer, Works from Robert Gober and Bruce Nauman, November-December 1989 (another example exhibited).
Santa Monica, Shoshana Wayne Gallery, The Lick of the Eye, July-September 1991 (another example exhibited).
Milwaukee Art Museum, Currents 20/ Recent Narrative Sculpture, March-May 1992 (another example exhibited).
Cologne, Galerie Max Hetzler and Thomas Borgman, Robert Gober, On Kawara, Mike Kelley, Martin Kippenberger, Jeff Koons, Albert Oehlen, Julian Schnabel, Cindy Sherman, Thomas Struth, Philip Taaffe, Christopher Wool, May-June 1992, p. 17 (another example exhibited and illustrated).
London, Serpentine Gallery and Tate Liverpool, Robert Gober, March-August 1993 (another example exhibited; front cover illustration).
Basel, Museum fur Gegenwartskunst, Zimmmer in denen die Zeit nicht zählt: Die Sammlung Udo und Anette Brandhorst, June-October 1994, p. 128 (another example exhibited and illustrated).
Paris, Institut Néerlandais, Avant-première d'un musée - Le Musée d'Art Contemporain de Gand, September-October 1996 (another example exhibited).
Gent, Museum Van Hedendaagse Kunst and Watou, S.M.A.K., Voor het verdwijnt en daarna, June-September 1998 (another example exhibited).
Minneapolis, Walker Art Center; Malmö, Rooseum Center for Contemporary Art; Washington, D.C., Smithsonian Institution Hirshhorn Museum and Sculpture Garden; San Francisco Museum of Modern Art, Robert Gober: Sculpture + Drawing, February 1999-September 2000, p. 99 (another example exhibited and illustrated).
Munich, Staatsgalerie moderner Kunst im Haus der Kunst, Food for the Mind: Die Sammlung Udo und Anette Brandhorst, June-October 2000 (another example exhibited).
Baltimore Museum of Arts, BodySpace, February-May 2001, n.p. (another example exhibited and illustrated).
New York, D'Amelio Terras, 5 Sculptures, January-February 2002 (another example exhibited).
London, White Cube, The Unthought Known, March-April 2002 (another example exhibited).
Oslo, Astrup Fearnley Museet for Moderne Kunst, Realitetsfantasi(another example exhibited).er - Post Modern Art from the Astrup Fearnley Collection, May-September 2002 (another example exhibited).
Pori, Porin Taidemuseo, Transformer, September-November 2002 (another example exhibited).
Oslo, Astrup Fearnley Museet for Moderne Kunst, Robert Gober Displacements, February-April 2003, p. 45 (another example exhibited and illustrated).
Mount Kisco, Foundation To-Life, Inc., Exhibition Space, Presence, March 2003 (another example exhibited).
New York, Dickinson Roundell, Aftershock: The Legacy of the Readymade in Post-War and Contemporary American Art, May-June 2003 (another example exhibited).
Oklahoma City Museum of Art; Reno, Nevada Museum of Art and Mobile Museum of Art, An International Legacy: Selections from Carnegie Museum of Art; January-April 2003, n.p. (another example exhibited and illustrated).
Ishøj, ARKEN Museum for Moderne Kunst, Bull's Eye: Works from the Astrup Fearnley Collection, June-August 2003 (another example exhibited).
University of Cambridge, Kettle's Yard, The Unhomely, November 2003-January 2004 (another example exhibited).
New York, Guggenheim Museum, Singular Forms (Sometimes Repeated): Art from 1951 to the Present, Mary-May 2004 (another example exhibited).
Osaka, National Museum of Art and Yokohama Museum, Mirrorical Returns: Marcel Duchamp and the 20th Century Art, November 2004-March 2005 (another example exhibited).
Minneapolis, Luxury Art Hotel, Chambers, Chambers, Important If True (Hootenanny in E.), August-November 2008 (another example exhibited).
Gent, Hoger Instituut voor Schone Kunsten, You Can't Go Home Again, December 2008-January 2009 (another example exhibited).
Munich, Museum Brandhorst, Group Exhibition, May-Summer 2010 (another example exhibited).
Paris, Palais de Tokyo, Chasing Napoleon, October 2009-January 2010 (another example exhibited).
Herford, Marta Herford, Invisible Shadows - Images of Uncertainty, September-Novmember 2010 (another example exhibited).
Pittsburgh, Carnegie Museum of Art, Ordinary Madness, October 2010-January 2011 (another example exhibited).
São Paulo Biennial Pavilion, Em Nome Dos Artistas - Classicos Da Arte Contemporânea Na Coleção Astrup Fearnley (In the Name of the Artists - classics of contemporary art from the Astrup Fearnley collection), September-December 2011 (another example exhibited).
Please note this work is incised with the artist's signature, title, number and date 'R. Gober '89 6 of 8 Drain' (on the underside)
Note du spécialiste
'I thought of the drains as metaphors functioning in the same way as traditional paintings, as a window into another world. However, the world that you enter into through the metaphor of the drain would be something darker and unknown.'
- Robert Gober
- Robert Gober