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New York
Gb3
Robert Gober
Matthew Marks Gallery - 526 W. 22nd St.
526 W 22nd St., New York , NY 10011
February 2, 2008 - March 29, 2008


A Look at Robert Gober
by Keith Miller


For over two decades Robert Gober has been using the language of the banal and screwing it up with prosthetics. Sinks and candles, legs and breasts, drains and cribs, all in an inchoate mix of elements with a floating body that seems to poke fun at us. But his body parts are not the hyper-realist artifacts of Ron Mueck (Dead Dad) Duane Hansen (Tourists) or even Charles Ray (Family Romance).

Gober’s appendages are clunky and silly and play with the perverse, even if only slightly. This awkwardness is perhaps his greatest strength. There is no illusion here: we are not surrealistically led to think a chair actually has breasts. So it gives us a laugh. It is a comic foray into the absurd. But in a sly about face our laugh turns to tenderness and the impossible juxtaposition seems suddenly poignant, as if empathizing with anyone who has ever felt absurd, awkward, abject or other.

- Keith Miller

(Image: Robert Gober, Robert Gober, February 2 - March 29, 2008, Matthew Marks Gallery, Untitled, 2007-2008, Beeswax, pigment, cotton, leather, aluminum pull tabs, human hair, cast gypsum polymer, paint; 27 1/2 x 17 x 17 3/4 inches, 69.9 x 43.2 x 45.1 cm, © Robert Gober, Courtesy Matthew Marks Gallery, New York.  Robert Gober, Robert Gober, February 2 - March 29, 2008, Matthew Marks Gallery, Untitled, 1979/2007, ink on paper, 18 x 14 inches, 45.7 x 35.6 cm, © Robert Gober, Courtesy Matthew Marks Gallery, New York.  Robert Gober, Robert Gober, February 2 - March 29, 2008, Matthew Marks Gallery, Untitled, 2007-2008, Applewood, pewter, cast gypsum polymer, beeswax, paint, pigment; 31 3/4 x 16 1/2 x 18 inches, 80.6 x 41.9 x 45.7 cm, © Robert Gober, Courtesy Matthew Marks Gallery, New York.)

 

 

 

 

 



Posted by Keith Miller on 3/2/08

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Teamsrace2008 Robert Gober
I am attracted to Gober's work because of the feeling of a peculiarly human vulnerability that it elicits. A child's shoe, a slight leg, a paleness, those sparse human hairs....How can we see them without wanting to help or make whole? I am also drawn to his work because the objects are representations of "real" "manmade" objects. He seems to approach all with a kind of care that is unusual and unafraid.





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