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Robert Gober Auction Price Results

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Robert Gober (b. 1954), Male & Female Genital Wallpaper, 1989

Lot 42: Robert Gober (b. 1954), Male & Female Genital Wallpaper, 1989

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Description: 2 offset lithographs on affiche paper USA, 1989 Male & Female Genital Wallpaper (black version) Robert Gober (born 1954) - US-American pop art and minimalist artist Dimensions: each 340 x 61 cm Provenance: German private collection Genital Wallpaper by Robert Gober have lastly sold for more than 5,000 Euros at Sotheby's in London 'Male & Female Genital Wallpaper' is a work by the US-American artist Robert Gober from the year 1989. Two 3.40 m tall and 60 cm wide offset lithographs depict on black background in white outlines female and male torsos with genitals. Two prints of this edition were part of the 1993 exhibition 'Robert Gober' at the Tate Liverpool. There, the wallpapers have been interpreted as illustration of hysterical projection, hallucinating sexual phantasies and also elements of interior decoration. The cut human torso is a recurring subject matter in Gober's work. Both prints show several folding marks. At the upper margin are marks of paper clips, one of the reveals here several tears as well as a ca. 10 cm long tear. The dimensions are each 340 x 61 cm. Robert Gober (born 1954) Robert Gober studied literature and fine art at the Middlebury College, Vermont and at the Tyler School of Art in Rome. Since 1976, he lives in New York and at the beginning earned his keep as a handyman and interior decorator, and in assisting Elizabeth Murray. Gober makes use of everyday objects in his works. He worked together with a multimedia performance group for a period of time and underwent a lengthy psychoanalysis. Most well-known are his sculptures, but he also engages in photography, printmaking, drawing and in curating art exhibitions. Numerous national and international exhibitions (e.g. Museum of Contemporary Art Los Angeles, Jeu de Paume Paris, Dia Art Foundation New York and 2012 Venice Biennale) have tightened his reputation. Furthermore, some of his works were represented in five Whitney Biennales in New York. In 2007, the Schaulager in Basel honored him with a retrospective. Some important public collections possess works of Gober, amongst them the Whitney Museum New York, the Guggenheim New York, the Museum of Modern Art San Francisco and the Tate Modern London. Due to the legal obligation for the resale royalty in the art market the following applies: As a result of its membership in the AV Kunst, Auctionata charges additionally to the hammer price the contribution to the AV Kunst of currently 2.1% of the revenues from the sale of fine arts and photographs pro rata towards the buyer. More information about royalty right in our T&C.„Male & Female Genital Wallpaper" ist eine Arbeit des US-amerikanischen Künstlers Robert Gober aus dem Jahr 1989. Zwei 3,40 Meter hohe und 60 cm breite Offsetlithografien zeigen auf schwarzem Grund in weißen Konturen weibliche und männliche Torsos mit Genitalien. Zwei Drucke aus dieser Edition waren Teil der Ausstellung „Robert Gober" 1993 in der Tate Liverpool. Dort wurden die Wallpapers (= Tapeten) als Illustration hysterischer Projektion, halluzinierender sexueller Fantasien als auch Ausgestaltung für den Innenraum interpretiert. Der beschnittene menschliche Torso ist ein wiederkehrendes Motiv in Gobers Werk. Die beiden Drucke zeigen mehreren Knickspuren. Am oberen Rand sind Heftklammerspuren zu sehen, ein Druck zeigt hier mehrere Ausrisse sowie einen etwa 10 cm langen Einriss. Die Maße betragen je 340 x 61 cm. Robert Gober (geb. 1954) Robert Gober studierte Literatur und Bildende Kunst am Middlebury College, Vermont und an der Tyler School of Art in Rom. Seit 1976 lebt er in New York und verdiente anfänglich seinen Unterhalt als Heimwerker und Inneneinrichter sowie als Assistent von Elizabeth Murray. Gober verwendet in seinen Arbeiten alltägliche Objekte. Für eine Zeit lang arbeitete er mit einer Multimedia Performance Gruppe zusammen und unterzog sich einer langwierigen Psychoanalyse. Am bekanntesten sind seine Skulpturen, aber er macht auch Fotografie, Druckgrafik und Zeichnungen und kuratiert Ausstellungen. Zahlreiche Ausstellungen im In- und Ausland (u.a. Museum of Contemporary Art Los Angeles, Jeu de Paume Paris, Dia Art Foundation New York und die Biennale Venedig2012) haben sein internationales Renommee gefestigt. Zusätzlich waren seine Arbeiten Teil von fünf Whitney Biennalen in New York. 2007 würdigte das Schaulager in Basel sein Oeuvre mit einer Retrospektive. Einige wichtige öffentliche Sammlungen besitzen Werke von Gober, darunter dem Whitney Museum New York, dem Guggenheim New York, dem Museum of Modern Art San Francisco und dem Tate Modern London.

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Robert GOBER (né en 1954) WHOLE PIGS, 1993 Sérigraphie sur papier journal

Lot 199: Robert GOBER (né en 1954) WHOLE PIGS, 1993 Sérigraphie sur papier journal

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Description: Robert GOBER (né en 1954) WHOLE PIGS, 1993 Sérigraphie sur papier journal signé, daté et numéroté en bas à droite "R.Gober, 93-4, n°44/75" Silk-screen print on newspaper signed, dated and numbered lower right "R.Gober, 93-4, n°44/75" 57 x 30 cm (22,23 x 11,70 in.) h: 57 w: 30 cm

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Robert Gober, 1954-,

Lot 1049: Robert Gober, 1954-, "Whole Pigs", print, 55/75, Sight image 23" H x 12 1/2" W, framed.

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Description: Robert Gober 1954- "Whole Pigs" print, 55/75 Signed and dated 1993-4 and numbered 55/75 lower right. Sight image 23" H x 12 1/2" W, framed.

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Lot 1: Robert Gober (b. 1954)

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Description: UNTITLED signed, dated 1985 and numbered RGO-129-D on the reverse pencil on paper 16 7/8 by 14in. 42.9 by 35.6cm. Provenance Galerie Max Hetzler, Berlin Galerie Samia Saouma, Paris.

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Lot 1: GOBER, Robert (1954-, American)

Description: Hanging man, s.d.89verso gouache chk pen fabric Works on paper (11x13in).

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ROBERT GOBER B. 1954

Lot 1: ROBERT GOBER B. 1954

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Description: fabric paint on flannel Executed in 1988.

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Lot 1: Robert Gober (b. 1954)

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Description: Untitled (Hairy Shoe) signed, numbered and dated 'R. Gober 8/15 '92' on the underside wax and human hair 3 x 7 x 3in. (9 x 19 x 7.5cm.) Executed in 1992. This work is number eight from an edition of fifteen. PROVENANCE Paula Cooper Gallery, New York NOTES.

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Untitled

Lot 1: Untitled

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Description: Robert Gober and Sherrie Levine (b. 1954 and b. 1947) Untitled enamel, beeswax and rope light bulb: 8 x 3 x 3in. (20 x 7.5 x 7.5cm.) Executed in 1990, this work is from an edition of two plus two artist proofs

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Lot 1: Robert Gober (b. 1954)

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Description: UNTITLED signed, dated 1985 and numbered RGO-129-D on the reverse pencil on paper 16 7/8 by 14in. 42.9 by 35.6cm. Provenance Galerie Max Hetzler, Berlin Galerie Samia Saouma, Paris.

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 Robert Gober , b.1954 Rat Bait cast plaster with casein and silkscreen ink

Lot 1: Robert Gober , b.1954 Rat Bait cast plaster with casein and silkscreen ink

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Description: signed, titled, dated 1992 and numbered 8/10 on the reverse cast plaster with casein and silkscreen ink

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Lot 2: Robert Gober and Christopher Wool (b. 1954 and b. 1955)

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Description: Untitled signed, dated and numbered 'Robert Gober Christopher Wool 1988 9/10' on the reverse gelatin silver print 20 x 16 in. (50.8 x 40.6cm.) This work is number nine from an edition of ten. LITERATURE L. Biggs and J. Peyton-Jones, Robert Gober, London 1993, p. 18, fig. 5 (illustrated) A. Goldstein, Christopher Wool, Los Angeles 1998, p. 43 (illustrated) EXHIBITION New York, 303 Gallery, A Project: Robert Gober/Christopher Wool, April 1988 (illustrated on the cover; another print exhibited) Rotterdam, Museum Boymans-van Beuningen; and Bern, Kunsthalle Bern, May-October 1990, pp. 14 and 76 (illustrated; another print exhibited) New York, The Museum of Modern Art, On the Edge: Contemporary Art from the Werner and Elaine Dannheisser Collection, September 1997-January 1998, p. 51 (illustrated; another print exhibited) NOTES In 1988 Robert Gober and Christopher Wool held a a collaborative exhibition entitled A Project: Robert Gober/Christopher Wool at 303 Gallery. Only in Untitled, a photograph of a dress that was sewn by Gober and emblazoned with a design by Wool, were the efforts of both men present in one artwork. The other works in this seminal exhibition including Gober's Three Urinals and Wool's Apocalypse Now were each made by the artists individually, finding common ground in themes but not in their execution. The direct collaboration between Gober and Wool in Untitled yields surprising results. Each artist seems to have assumed nuances of the other's style to create this haunting work. The impact of their exchange becomes most apparent when one realizes the genesis of this piece. During 1982-1983, Gober focused much of his energy into a project called Slides of a Changing Painting. He painted a single board over and over, developing one theme or motif only to have it morph into another. The only record of the boards various incarnations is the slide collection shot to document each painting before it was transformed. Slides of a Changing Painting is a veritable iconographic key for Gober's later works. Not surprisingly within this series is the prototype for Untitled. In 1982-1983 Gober was painting a white dress hanging from a tree that is strikingly similar to the image of Untitled. It is not surprising that Gober would revisit this motif five years after its first introduction as repetition is fundamental to his working method, but it is fascinating to see the final culmination of this motif in Untitled executed as a collaboration. As Slides of a Changing Painting shows the completely transformative, though logical, evolution of Gober's motifs by laying one idea on top of another, Wool adds layers that completely alter Gober's basic idea. The photograph taken by Gober captures the patterns of the barren forest emulating Wool's patterns. The dress hanging from a tree, its surrogate model, is covered with Wool's arabesques forming a neat self-referencing synthesis. The tree acts as the model mimicking a woman with hands raised toward the sky, but of course the actual person is suspiciously absent. Immediately recognizable is Gober's fixation with the denigration and repression of the body that is exemplified through the choice of "mannequin". Wool's pattern heightens this dissipation. Not only the body but the dress begins to evaporate. This too is a logical conclusion, but one that Gober had not yet explored. This collaboration acutely augments themes and inflicts subtle change to the visual vocabulary of Gober's and Wool's individually strong voices creating a unique work for both artists.

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Robert Gober (b. 1954)

Lot 2: Robert Gober (b. 1954)

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Description: Genital Drawing graphite and colored pencil on velum 14 x 11 in. (35.5 x 28 cm.) Drawn in 1989. PROVENANCE Gift of the artist War Resisters League Benefit, New York, 1989 Paul Anderson, Chicago Feature, New York EXHIBITION New York, 101 Spring Street, Judd Foundation, War Resisters League Benefit Exhibition, (sponsored by Paula Cooper), no.6, September-October 1989. NOTES This drawing was used as the basis for a wallpaper pattern and as the endpapers for Heat, a book by Joyce Carol Oates published by the Whitney Museum of American Art, New York in 1989. Robert Gober, Installation, Paula Cooper Gallery, New York, 1989.

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ROBERT GOBER AND SHERRIE LEVINE B. 1954 AND B. 1947

Lot 3: ROBERT GOBER AND SHERRIE LEVINE B. 1954 AND B. 1947

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Description: enamel, beeswax and rope Executed in 1990. This work is one of two artist's proofs from an edition of two plus two artist's proofs.

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Lot 4: Robert Gober  b. 1954

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Description: BAG OF DONUTS signed and dated 1989 on the bottom paper, dough and rhoplex (12 donuts) 11 by 6 1/4 by 6 in. 27.9 by 15.9 by 15.2 cm. Executed in 1989, this work is number three from an edition of eight. Provenance Paula Cooper Gallery, New York Private Collection, New York Exhibited New York, Paula Cooper Gallery, Robert Gober, 1989, another example Rotterdam, Museum Boymans-van Beuningen; Kunsthalle Bern, Robert Gober, 1990, pp.12,79 and 81, illustrated London, Serpentine Gallery; Liverpool, Tate Gallery, Robert Gober, 1993, p. 29, illustrated in color (ed. no. 8/8) and p. 28, 32, illustration in color (Paula Cooper Gallery installation, 1989) Literature Robert Gober, Galerie Nationale du Jeu de Paume, Paris, 1991, pp.26-27, illustrated in color (exhibition catalogue) Robert Gober, Museo Nacional Centro de Arte Reina Sofia, Madrid, 1992, p.32, illustrated in color (exhibition catalogue) Robert Gober, Museum of Contemporary Art, Los Angeles, 1997, p.64, illustrated in color (exhibition catalogue).

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Lot 4: GOBER

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Description: Robert Gober b. 1954 DRAIN signed, titled, dated 89 and numbered 2/8 cast pewter 4a by 4a by 3in. 10.8 by 10.8 by 7.6cm. Provenance Paula Cooper Gallery, New York Acquired by the present owner from the above Exhibited New York, Paula Cooper Gallery, Robert Gober, 1989 cf., Rotterdam, Museum Boymans van Beuningen; Bern, Kunsthalle, Robert Gober, 1990, p. 78, illustrated, illustrated on the frontispiece and illustrated on the endpapers of the catalogue cf. London, Serptentine Gallery; Liverpool, Tate Gallery, Robert Gober, 1993, illustrated in color on the cover of the catalogue, fig. 3, p. 9, illustrated and pp. 30-32, illustrated in color (installation at Paula Cooper Gallery, New York, 1989) Literature cf. Parkett no. 27, Zürich, March 1991, p. 27, illustrated # GOBERfix background, make the holes in the drain blacksotheby's scanGOBER #Richard Flood: Let's talk for a minute about the objects embedded in the wallpaper of the last show [Paula Cooper Gallery, 1989].... How did they come about? Robert Gober: I took a rubber mould of the drain in my kitchen sink and then I cast that in plaster, and then I wanted the foundry to cast that, but we got very confused in our communication because the fabricator didn't speak English very well. He wanted me to take the drain out of my kitchen sink so that he could cast from that, and I said I would not take the drain out of my kitchen sink, so I went looking for a comparable drain, but of course they don't make them anymore. So I bought three drains, and we cut them up and soldered them together to make what I found was a quintessential type of drain, and then we cast from that. (Robert Gober in "Interview with Richard Flood," Robert Gober, Tate Gallery, Liverpool, 1993, p. 9). In the tradition of a Duchampian ready-made, Drain, 1989 takes as its subject a commonplace object. Yet the genesis of Gober's ready-made is not the assembly line, but rather the artist's studio, where the work has been scrupulously, and evocatively hand-made. In such a way, Gober repositions the artist as creator of this normally industrially manufactured product, impressing upon it a level of compelling, yet disturbing placelessness. Gober's thwarted search for the perfect drain - the drain that no longer exists in time, the object that can be located in reality, but a reality solely of the mind - is, at the same time, a quest to conjure up the realms of nostalgia, memory and the beyond. The disparate range of associations which the artist - and by extension the viewer - assigns to an essentially banal object, makes Drain a profoundly resonant and deeply accomplished original work of art. Taken out of its usual context and sunken into a wall, the drain becomes stripped of its function. In their traditional form, drains point to a netherworld of fluid darkness, leaden with threatening associations and leading to immeasurable depths of unknown territories. "I thought of the drains as metaphors functioning in the same way as traditional paintings, as a window into another world," the artist has said. "However, the world you enter into through the metaphor of the drain would be something darker and unknown, like an ecological unconscious." (Robert Gober, Ibid., p. 9). First shown at Gober's pivotal exhibition at the Paula Cooper Gallery in New York in 1989, the series of eight drains were inset into the gallery's surrounding walls. Covering the walls was black wallpaper upon which were drawn repeated motifs of male and female genitalia. The drains penetrated the surface of the walls, and were placed just below eye level near the drawn body parts. In conjunction with the human sexual organs, the drains took on a sexual and erotic function that belies their essentially mechanical nature. Cast in pewter and bearing gentle undulations that negate any aura of the manufactured object, Gober's Drain has a precious potency, like an icon to be coveted and revered. At the bottom of the drain is a cross, an unmistakably sacred sign. "Actually, the cross is my invention.... The cross was made by me; it wasn't from a pre-existing drain because I couldn't find one with a cross. Old ones do, because the one in my bathroom - the old brass fitting - has a cross, but I couldn't find one now, so actually that was constructed before the casting." (Robert Gober, Ibid., p. 9). Gober challenges us to consider the symbols that abound in our daily visual experience, so that even the most commonplace object can become a catalyst for contemplation and meditation.Marcel Duchamp, Bouche-Evier (Lead Sink Stopper), 1964.

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Robert Gober

Lot 4: Robert Gober

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Lot 5: Robert Gober (b. 1954)

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Description: Dollhouse wood, pebbles, wallpaper, plastic, ceramic tiles and painted embroidery cloth 29 x 36 x 36in. (73.7 x 91.4 x 91.4cm) Executed in 1978. PROVENANCE Acquired directly from the artist Private collection, New York NOTES The artist has told us that this is the first dollhouse that he made as an art object; the wallpapers were made by Gober. "Here are two biographical facts about Robert Gober that might inform the ritualistically scaled and psychologically attuned presence of his work. He was an altar boy. He once made dollhouses as a source of income (initially they were sold at an Americana shop, but eventually they acquired a self-consciousness that led him to make art objects based on the dollhouse)." (T. Fairbrother, "We are only as sick as the secrets we keep" in Robert Gober, exh. cat., Rotterdam, Museum Boymans-van Beuningen, May-July 1990 and Bern, Kunsthalle, September-October 1990, p. 43) "If in these works the artist negatively mirrors the way the child socializes its attitudes towards the family by playing with miniaturized replicas, so his making by hand...bespeaks not only a deep-seated desire to master the home emotionally and psychologically but also to recreate it differently." (L. Cooke in Robert Gober, exh. cat., Serpentine Gallery, London and Tate Gallery, Liverpool, 1993, p. 19) fig. 1: Susan P. Meisel, Victorian House, 1976, lithograph. Gober based the design of his dollhouse on this lithograph. SALESROOM NOTICE The catalogue states incorrectly that Christie's was informed by the artist that this work was the first dollhouse he made as an art object. Mr. Gober has informed us that the dollhouse was commissioned and made as a work of carpentry and not as a work of art. The following modifications have been made to the dollhouse: striped wallpaper in the lower rear first floor room has been overpainted with white synthetic emulsion paint; wallpaper has been removed from the second floor bathroom; an item of furniture viz. a bidet, has been taken away from the house. These modifications were not accomplished by Mr. Gober.

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Lot 5: Robert Gober

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ROBERT GOBER Untitled, 2000 Lithograph,

Lot 5: ROBERT GOBER Untitled, 2000 Lithograph,

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Description: ROBERT GOBER Untitled, 2000 Lithograph, screenprint and mixed media in colors, on Fabriano Tiepolo/Arches paper, with full margins, I. 22 x 32 in. (55.9 x 81.3 cm).; S. 30 x 44 in. (76.2 x 111.8 cm). signed, dated '2.3.00' and numbered 42/47 in pencil (there were also 8 artist's proofs), published by Gemini G.E.L., Los Angeles (with their blindstamp), in very good condition, framed.

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Lot 6: GOBER, Robert (1954-, American)

Description: Untitled, s.i.d.92 wax cotton leather aluminum human hair Sculpture (19x7x)7in.

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Lot 6: GOBER, Robert (1954-, American)

Description: Dog bed, s.i.d.1986-7 frabric paint cotton flannel rattan prov. Sculpture (37x10x)10in.

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Lot 6: Robert Gober

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Description: b. 1954 UNTITLED (SINK) signed and dated 1985 on the reverse pencil on paper 11 by 14 in. 27.9 by 35.6 cm. Provenance Daniel Weinberg Gallery, Los Angeles Acquired by the present owner from the above.

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 Robert Gober , b. 1954 Untitled beeswax, wood, oil paint and human hair

Lot 6: Robert Gober , b. 1954 Untitled beeswax, wood, oil paint and human hair

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Description: signed, titled and dated 1990 on the wood mount beeswax, wood, oil paint and human hair

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Robert Gober (b. 1954)

Lot 6: Robert Gober (b. 1954)

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Description: Robert Gober (b. 1954) Untitled signed, numbered and dated 'R. Gober '93-4 22/75' (on the reverse) color photo-lithograph on French Dur-o-Tone paper 11 x 11¾ in. (27.9 x 29.8 cm.) Executed in 1993-1994. This work is number twenty-two from an edition of seventy-five plus ten artist's proofs.

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Lot 7: Robert Gober (b. 1954)

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Description: DISTORTED PLAYPEN wood and enamel paint 26 by 35 7/8 by 55 7/8 in. 66 by 91.1 by 141.9cm. Executed in 1986. Robert Gober's Distorted Playpen, 1986 is a delightfully engaging, peculiarly ominous work that accesses the realm of collective memory, deep emotion and insatiable expectation. While its formal structure is minimal and austere, the work embodies a flood of art historical references as well as a complex web of deeply loaded personal signs. The disparate range of associations which the artist - and by extension the viewer - assigns to an essentially banal object, the childhood playpen, makes Distorted Playpen a profoundly resonant and deeply accomplished original work of art. In the tradition of a Duchampian ready-made, Distorted Playpen takes as its subject a commonplace object. Yet the genesis of Gober's ready-made is not the assembly line, but rather the artist's studio, where the work is scrupulously and evocatively hand-made. In such a way, Gober repositions the artist as creator of this normally industrially manufactured product, impressing upon it a level of compelling, yet disturbing placelessness. In Distorted Playpen, Gober uses form as an object of isolation and constraint. He creates a "childhood cage," a familiar object that, in a subtly altered state, becomes ominously foreboding. With its antiseptic posture, imprisoning bars and haunting distortion, the playpen provides a chilling evocation of the child as victim, where infancy equates with imprisonment. As Ulrich Loock has observed, Gober's objects from this period - beds, cribs, playpens, dogbeds and armchairs "reflect family intimacy so strongly that, like fetishes, they can replace it.... [They] are fraught with connotations from the family domain: primal existence, early socialization and sexual identification" (Ulrich Loock, Robert Gober, Museum Boymans-van Beuningen, Rotterdam, 1990, p. 16). Whether Gober's playpens are Distorted, Slanted, Pitched, Tilted or twisted into an X, they represent an arena where memory, fantasy and trauma are manipulated and entrapped. As the artist has said, "most of my sculptures have been memories remade, recombined and filtered through my current experiences (Robert Gober in Ibid., p. 33). In Distorted Playpen, Gober undermines any concrete perception of reality and strikes at the root of one's sense of self. Provenance Acquired by the present owner directly from the artist Literature Robert Gober, Ulrich Loock and Karel Schampers, eds., Robert Gober, Rotterdam and Bern, 1990, p. 68, illustrated (exhibition catalogue).

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Lot 7: Robert Gober (b. 1954) DISTORTED PLAYPEN wood and enamel paint 26 by 35 7/8 by 55 7/8 in. 66 by

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Description: 91.1 by 141.9cm. Executed in 1986. Robert Gober's Distorted Playpen, 1986 is a delightfully engaging, peculiarly ominous work that accesses the realm of collective memory, deep emotion and insatiable expectation. While its formal structure is minimal and austere, the work embodies a flood of art historical references as well as a complex web of deeply loaded personal signs. The disparate range of associations which the artist - and by extension the viewer - assigns to an essentially banal object, the childhood playpen, makes Distorted Playpen a profoundly resonant and deeply accomplished original work of art. In the tradition of a Duchampian ready-made, Distorted Playpen takes as its subject a commonplace object. Yet the genesis of Gober's ready-made is not the assembly line, but rather the artist's studio, where the work is scrupulously and evocatively hand-made. In such a way, Gober repositions the artist as creator of this normally industrially manufactured product, impressing upon it a level of compelling, yet disturbing placelessness. In Distorted Playpen, Gober uses form as an object of isolation and constraint. He creates a "childhood cage," a familiar object that, in a subtly altered state, becomes ominously foreboding. With its antiseptic posture, imprisoning bars and haunting distortion, the playpen provides a chilling evocation of the child as victim, where infancy equates with imprisonment. As Ulrich Loock has observed, Gober's objects from this period - beds, cribs, playpens, dogbeds and armchairs "reflect family intimacy so strongly that, like fetishes, they can replace it.... [They] are fraught with connotations from the family domain: primal existence, early socialization and sexual identification" (Ulrich Loock, Robert Gober, Museum Boymans-van Beuningen, Rotterdam, 1990, p. 16). Whether Gober's playpens are Distorted, Slanted, Pitched, Tilted or twisted into an X, they represent an arena where memory, fantasy and trauma are manipulated and entrapped. As the artist has said, "most of my sculptures have been memories remade, recombined and filtered through my current experiences (Robert Gober in Ibid., p. 33). In Distorted Playpen, Gober undermines any concrete perception of reality and strikes at the root of one's sense of self. Provenance Acquired by the present owner directly from the artist Literature Robert Gober, Ulrich Loock and Karel Schampers, eds., Robert Gober, Rotterdam and Bern, 1990, p. 68, illustrated (exhibition catalogue).

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Lot 8: Robert Gober (b. 1954)

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Description: Gober, R. Cat Litter signed, numbered and dated 'R. Gober 1990 5 of 9' on the back plaster, ink and latex paint 18 x 11 x 5in. (47 x 28 x 13cm.) Executed in 1990. PROVENANCE Paula Cooper Gallery, New York Werner Lippert, Dusseldorf Galerie Max Hetzler, Cologne EXHIBITION Rotterdam, Museum Boymans-van Beuningen; Bern, Kunsthalle, Robert Gober, May-October 1990. Tokyo, Touko Museum of Contemporary Art, Strange Abstraction, June-August 1991 (another cast exhibited). London, Serpentine Gallery; and Liverpool,Tate Gallery, Robert Gober, March-August 1993 (illustrated). NOTES (THIS ESSAY WILL PRECEDE THE THREE GOBER LOTS) Robert Gober is among the most important American artists to have emerged during the last twenty years. Mixing the commonplace with the symbolic, he creates profoundly original works that resonate with memory and emotion, trauma and desire. His sculptures are powerful, disturbing, and loaded with suggested meaning. And like all true relics, his sculptures retain and give off an aura that confronts the viewer directly. Leg with Candle is characteristic of Gober's genius. In a manner reminiscent of the Surrealists, Gober has reconfigured the universe, uniting separate categories of being; leg and candle, flesh and wax, nature and culture, creator and created have been joined and merged. The sculpture is nightmarish and grotesque. Indeed, this kind of ontic blending is the essence of grotesque art (think of third-style Roman wall painting and Gothic decoration). Moreover, candles are objects with clear and powerful symbolic meanings, all of which seem relevant here. The Surrealists, particularly Magritte and Mir, viewed candles as a talisman or instrument of magic. Candles also are a common vanitas symbol of the transience of mortal existence (e.g, "out, out brief candle"). In addition, they are ritual items, associated especially with funerals and votive altars. And since remotest antiquity, wax sculptures of body parts have been tokens of thanksgiving at votive altars. Naturalism in western art has its roots in magic and religion, not in secular science, and Gober's piece recovers some of the primordial mystery of the simulacrum. Crib is another work that mixes the personal and the sacred. It is the first in Gober's crib series, and it is entirely handmade by the artist. While later in the series, Gober transformed and altered the cribs, the present work is a literal reproduction of a standard crib. Nevertheless, it is a powerful and haunting sculpture. Crib is the Primal Site, the symbolic scene of initial contact and conflict between infant and family, individual and society. For Gober, a homosexual raised in a working class Catholic family, this was conflict was often very painful. Indeed, another of his works pairs news-stories of child-abuse and infanticide with stereotypical images of the "ideal" heterosexual family. According to Mircea Eliade, a sacred space is a realm of symbolic meaning; and the space must be fenced off from the chaos of the profane by a clear physical boundary. (In ancient Roman temple-precincts, the boundary was called "fanum," hence the word pro-fane.) The bars of Crib suggest imprisonment, and also demarcate a zone of profoundly charged personal and symbolic meanings. Gober has said, "Most of my sculptures have been memories remade, recombined and filtered through my current experiences." This seems to be especially true of Crib. Cat Litter is one of Gober's handmade ready-mades. The artist originally exhibited it as part of an ensemble at the Paula Cooper Gallery that included Wedding Gown, and Hanging Man/Sleeping Man wallpaper. In an interview with Robert Flood, Gober said, "The Cat Litter I never saw as being that far a step from Wedding Gown... the cat litter was to a large degree a metaphor for a couple's intimacy--that when you make a commitment to an intimate relationship, that involves taking care of that other person's body in sickness and in health. If I had chosen to do a box of diapers, which is an equivalent of a bag of cat litter, it would have been obvious. But because I was juxtaposing a low symbol with a high symbol and a deflated symbol with an inflated one, people had a very hard time reconciling the two" (quoted in Serpentine Gallery London and Tate Gallery Liverpool, Robert Gober, London, 1993, p. 10). Gober has said that he chooses and forms his subjects by "nursing an image that haunts me and letting it sit and breed in my mind; and then, if it's resonant, then I'll try to figure out formally, could this be an interesting sculpture" (ibid., p. 17). All three of these sculptures are haunting and resonant works and they exemplify the genius of Robert Gober.

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Lot 9: GOBER, Robert (1954-, American)

Description: Untitled, s.d.90 wax executed 1990 unique Sculpture (14x19x)19in.

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ROBERT GOBER, B. 1954

Lot 9: ROBERT GOBER, B. 1954

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Description: offset lithograph on wallpaper, unframed

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Lot 9: Robert Gober (b. 1954)

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Description: Gober, R. Untitled (Leg with Candle) signed, titled and dated 'Robert Gober 1991 Untitled' on the section wax, human hair, leather, cotton and wood 13.3/8 x 7 x 38in. (34 x 18 x 96.5cm.) PROVENANCE Paula Cooper Gallery, New York Galerie Max Hetzler, Cologne LITERATURE L. Biggs, J. Peyton-Jones, Robert Gober, London 1993, p. 13 (illustrated fig. 7). EXHIBITION Cologne, Galerie Max Hetzler, Summer Group Show: Robert Gober, Cady Noland, Christopher Wool, July-August 1991. Paris, Galerie Nationale du Jeu de Paume; Madrid, Centro de Arte Reina Sofia, Robert Gober, October 1991-March 1992, pp. 64-65 (illustrated). Berlin, Martin Gropius Bau, The Age of Modernism--Art in the 20th Century, May-July 1997 (illustrated pl. 411). SALESROOM NOTICE Please note that the correct title for this work is Untitled as titled on the section of the leg.

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ROBERT GOBER, B. 1954

Lot 10: ROBERT GOBER, B. 1954

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Description: offset lithograph on wallpaper, unframed

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Lot 10: GOBER, ROBERT (1954)

Description: Untitled, sink, 1984-1988 Installation 26x28x24 inches (66x71.5x61 cm) Title SD.

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Lot 10: Robert Gober  b. 1954

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Description: THE FLYING SINK plaster, wood, wire lath, steel, semi-gloss enamel paint overall: 98 by 83 3/4 by 26 in. 248.9 by 212.7 by 66 cm. Executed in 1985. Provenance Paula Cooper Gallery, New York Edward R. Downe, Jr., New York Exhibited New York, Paula Cooper Gallery, Robert Gober, 1985 Rotterdam, Museum Boymans-van Beuningen; Bern, Kunsthalle, Robert Gober, 1990, p. 60, illustrated Joseph Masheck, Modernities, University Park, 1993, illustrated on the cover.

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Lot 10: Robert Gober (b. 1954)

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Description: Gober, R. Crib signed, titled and dated 'CRIB 1986 Robert Gober' on the mattress support enamel on wood with cotton mattress 44.7/8 x 52.3/8 x 33.1/8in. (114 x 133 x 84cm.) PROVENANCE Paula Cooper Gallery, New York Galerie Max Hetzler, Cologne Fredrik Ross, Zug LITERATURE R. Gober, V. Loock and K. Schampers, Robert Gober, Rotterdam and Bern 1990, p. 68 (illustrated). EXHIBITION Cologne, Galerie Max Hetzler, Robert Gober, November 1986 (illustrated). Malm, Rooseum, Art at the End of the Social, July-October 1988, no. 140, p. 296 (illustrated). Berlin, Martin Gropius Bau, The Age of Modernism--Art in the 20th Century, May-July 1997 (illustrated pl. 410).

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Untitled, 1993-1994

Lot 10: Untitled, 1993-1994

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Description: Untitled, 1993-1994Wood, vinyl, and acrylic paint. 80 x 52 1/2 x 24 in. (203.2 x 133.4 x 61 cm).  Signed and dated “R. Gober 1993-4” on the reverse.

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ROBERT GOBER

Lot 10: ROBERT GOBER

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Description: B. 1954 UNTITLED SHOE signed, dated 1990 and numbered 28/35 on the underside red casting wax 3 by 2 5/8 by 7 1/2 in. 7.6 by 6.9 by 19 cm. EXECUTED IN 1990, THIS WORK IS NUMBER 28 FROM AN EDITION OF 35 PLUS 6 ARTIST'S PROOFS.

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Lot 11: GOBER, Robert (1954)

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Description: Double Sink, 1984 Enamel & latex, wood, wire, lath, steel 329,9 x 600,0 x 270,1 inches (838.0 x 1524.0 x 686,0cm) Title lower right Illustrated The Estate of Gerald S. Elliott.

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                                        Robert Gober (b. 1954)

Lot 13: Robert Gober (b. 1954)

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Description: Robert Gober (b. 1954) Prison Window box construction--plywood, forged iron, plaster, latex paint, incandescent and fluorescent lights and electrical hardwarewindow: 23¾ x 23¾ in. (60.3 x 60.3 cm.)overall: 48 x 53 x 36 in. (121.9 x 134.6 x 91.4 cm.)Executed in 1992. This work is number five from an edition of five plus one artist's proof.Other examples from this edition are in the permanent Collections of the Museum of Modern Art, New York, the San Francisco Museum of Modern Art and the Center for Curatorial Studies at Bard College, Annandale-on-Hudson, New York. (2)

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Lot 15: Robert Gober (b. 1954)

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Description: Untitled (Man in Drain) bronze, plywood, brick, welded aluminum, beeswax, human hair, chrome, recycling pump and water box: 28 x 29 x 22in. (72.4 x 74.3 x 56cm.) tank: 26 x 37 x 34in. (66 x 95.3 x 86.4cm.) water grate: 1 x 29 x 22in. (3.8 x 74.3 x 56cm.) Executed in 1993-1994. This work is from an edition of two. PROVENANCE Paula Cooper Gallery, New York LITERATURE H. Schwartz, "Robert Gober: The Remorse and Conscience", Flash Art, Summer 1994, no. 177, p. 96 (illustrated). R. Smith, "Robert Gober", The New York Times, May 6, 1994, p. C19. R. Jones, "Robert Gober", frieze, September/October 1994, no. 18, pp. 70-71. A. Perchuk, "Robert Gober", Artforum 33, October 1994, p. 101 (illustrated). A. Aukeman, "Robert Gober", ARTnews, November 1994, p. 154. R. Flood, "Real Life Rock: Richard Flood's Top Ten", Artforum, February 1996, p. 24. ed. L. Neri and S. Watson, Everything That's Interesting is New: The Dakis Joannou Collection, Ostfildern-Ruit 1996, pp. 116-117 (illustrated). R. Smith, "Religion That's in the Details", The New York Times, November 19, 1997, p. E1. D. Joselit, "Poetics of the Drain", Art in America, vol. 85, December 1997, pp. 64-71. P. Schimmel and H. Foster, exh. cat., Robert Gober, Los Angeles Museum of Contemporary Art, p. 52 (illustrated). EXHIBITION New York, Paula Cooper Gallery, Robert Gober, May-June 1994. Pittsburgh, The Carnegie Museum of Art, Carnegie International 1995, November 1995-February 1996, pp. 86-88 (illustrated). Seattle, South Gallery, Henry Art Gallery, INSIDE: Louise Bourgeois, Robert Gober, Mona Hatoum, Gary Hill, Ilya Kabakov, Annette Messager, Lucas Samaras, April-June 1997. NOTES Robert Gober describes his working method as follows: "Most of my sculptures have been memories remade, recombined and filtered through my current experiences." (quoted in K. Schampers, 'Robert Gober' in Robert Gober, Rotterdam, Museum Boymans-van Beuningen, 1990, p. 33) Gober was brought up as a Roman Catholic in rural Connecticut, the son of a factory-worker and a nurse, who was strongly affected by the objects around him and the associations that they had with particular experiences. For example, he remembers the sinks he saw at his grandmother's house and retained the image to become a potent symbol of his own rejections of the values of the bourgeois world. He talked of "a nursing of an image that haunts me...letting it sit and breed in my mind and then, if it's resonant, then I'll try to figure out formally, this could be an interesting sculpture." (quoted in R. Flood, "An Interview with Robert Gober", exh. cat. Robert Gober, London, Serpentine Gallery and Liverpool, Tate Gallery, 1993, p. 8) He acknowledged in another interview that his work embodied a personal narrative but that he wanted 'to place it into a larger consciousness...[to] try to place it within perhaps an historical perspective, a broader American view." ('Robert Gober interviewed by Craig Gholson,' Bomb, Fall 1989, p. 32) This wider context, in Gober's case, concerns the politics of representing himself as a homosexual in mainstream American culture. His works have developed a critique of family values through the reconstruction and modification of everyday objects. Lynne Cooke writes, "If in these works the artist negatively mirrors the way the child socializes its attitudes towards the family by playing with miniaturised replicas, so his making by hand of the spaces, and later, the contents--sinks, beds, armchairs, etc.--of the familial house, bespeaks not only a deep-seated desire to master the home emotionally and psychologically but also to recreate it differently." (L. Cooke, 'Disputed Terrain,' exh. cat., Rober Gober, London, Serpentine Gallery and Liverpool, Tate Gallery, 1993, p. 19.) Gober's "different" re-creation was grounded in his insistence that his "nature", a real homosexual nature, exists alongside the conventional family-oriented heterosexual hegemony. Viewed in this way, elements of his work are explorations of the disregard or punishment of homosexuals, critiques of the rituals of family and marriage and celebrations of, or memorials to, his homosexual world. The creation of cribs, the decoration of dog baskets, a wedding dress made for himself as the bride, and the reconstruction of newspapers ready for recycling with fictitious news stories representing himself, along with the washroom sinks, all contribute to an alternate world where values are realigned. Gober realized that he could extend the power of his objects and create dioramas which incorporated these elements and which in turn heightened the reality of his position and its political argument. He created for example rooms whose walls were papered with provocative images, including one paper of male and female genitals (fig. 1). Within the wall he inserted the drain hole from a sink, elevating it to become a symbol of his situation. He had recreated the drain for use in a number of sculptures and found that the image he wanted (and remembered) had a cross-shape in the center; unable to find one, he eventually made it himself. The cross becomes a symbol not only of the removal of dirt (cleanliness is next to godliness) but a potent reminder of his Catholicism. Gober began to apply it with the additional meaning of a stigmata, as in the present work. The torso had been depicted by him in a long term painting project where a small image was repainted and photographed more than one thousand times. A sequence of images shows a culvert being inserted into a male torso and water flowing from it. (fig. 2). The iconography of the phallus and the drain have become interwoven. An extension to the drain hole here suggests a direct link between the stigmatized Christ and Gober's construction of the erotic. Gober has entombed his torso, abased it in the most abject place, at the bottom of a drain, through which water flows. Only part of the body is visible which increases our sense of disquiet. But the work is equally an erotic icon through which Gober has succeeded in placing his normality in our consciousness. The work is installed in a deliberately surreptitious manner--nothing impinges on the volume of the gallery, everything is below our gaze. (fig. 3) It combines both the despair of the abject and a subversive denial of the abasement of the fetishised male figure. Gober presents us with an image of extraordinary beauty whose meaning replaces our conventional definitions of the marginal and debased. fig. 1: Male and Female Genital Wallpaper, 1989 fig. 2: Oil painting of a male torso from Gober's series entitled Chests of 1982-1983. fig. 3: Installation shot of Untitled (Man in Drain). SALESROOM NOTICE The artist has raised concerns with the manner in which this work was depicted on the cover of the catalogue. Specifically, he has stated that in his conception of the work, it is fundamental that the drain not be able to be removed and that the figure of the man only be visible through the aperture of the drain.

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ROBERT GOBER Untitled, 1992

Lot 17: ROBERT GOBER Untitled, 1992

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Description: ROBERT GOBER Untitled, 1992

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Lot 18: GOBER, ROBERT (1954)

Description: Untitled : bed, 1988 Installation 44x71x39 inches (112x180.3x99 cm) Title SD.

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l - ROBERT GOBER B. 1954 UNTITLED LEG

Lot 23: l - ROBERT GOBER B. 1954 UNTITLED LEG

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Description: beeswax, cotton, wood, leather and human hairExecuted in 1990, this work is unique.PROVENANCEPaula Cooper Gallery, New YorkPrivate Collection, GermanyAcquired by the present owner from the aboveEXHIBITEDRotterdam, Museum Boymans-van Beuningen; Bern, Kunsthalle, Robert Gober, May - October 1990, p. 33, illustrated in color and p. 79, illustratedLITERATURE AND REFERENCESExh. Cat., Madrid, Museo Nacional Centro de Arte Reina Sofía, Robert Gober, 1992, p. 46, illustrated (installation with artist)Exh. Cat., Los Angeles, Museum of Contemporary Art, Robert Gober, 1997, p. 57, illustrated (installation with artist)CATALOGUE NOTEMany artists today take as their point of departure the ongoing negotiation of the status of the object as first discussed by Marcel Duchamp. Andy Warhol's enterprise was certainly fueled by Duchamp's irreverence towards the sanctity of the original Image (and the concomitant Signification of its matrices of meanings). Jeff Koons, likewise, has engaged directly with Duchamp's Ready-Mades, adding a cooler veneer of presentational polish to this Duchampian dialect. However, it is Robert Gober's work which, perhaps more than any other artist, has fully embraced the Duchampian questions surrounding the Object, Image and Index. Like Duchamp, Robert Gober's art is one that plays with the variety of meanings associated with a discourse concerned with boundaries. These limits are confronted and manipulated by the artist in a number of intriguing and intelligent ways. He tackles the limitations of the object itself, by extension illuminating and reviewing his own praxis. He takes issue with the easy demarcation between figuration and abstraction and, of course, embraces the human body not as a homogenous entity, but rather as a series of fragments, both present and absent, that glorifies an open-ended concept of the body and of being.This curious and challenging enterprise manifests itself in a number of objects that essentially display the absence of presence and vice versa. Gober's first comprehensive series of objects, his "sinks", created between 1984 and 1986, are unashamedly anthropomorphous. As the artist noted, these are objects, which have to be completed by the body of the viewer, just like his "playpens" and "beds". The "sinks" thus become simulacra not of the human being, but of human existence. They embrace a collective consciousness, rather than express an individual weltanschauung. This immersion of the human body into an inanimate form is most clearly exemplified in his early Slides of A Changing Painting (1982-83, Walker Art Center, Minneapolis). Here a variety of already ambiguous torsos slowly shift, through changing slides, from readably human forms into other non-body forms such as water pipes or corners of rooms, and back again. This early work reveals how easily differing areas of Gober's visual vocabulary blend into each other. Thus, when one is presented with two isolated plaster urinals or one dislocated booted wax leg, one is already aware that these charged objects contain a slippery stream of Signification above and beyond their merely material reality.Two Urinals from 1986 poetically displays many of these concerns between absence and presence. Certainly evoking (if not quoting) Duchamp's Urinal (1917), the present work also engages with the dynamics of gender and sexuality. Both the urinals evoke the female genital form (Duchamp himself referred to this with his original Urinal), and yet, of course, these are objects to be used exclusively by men. The masculine is thus merged with the feminine. Ironically, this fusion is achieved in a work that draws heavily on its juxtaposition. Just as Felix Gonzalez-Torres juxtaposed two clocks to signify the perfect loving couple (their identical time indicating their unity as a couple, as well as their identical gender), so too do Gober's urinals indicate a union. Given their male Signification, clearly defined by their utilitarian role, one can see these two objects representing another homosexual loving couple. Samuel Beckett's Platonic dialogues, executed by existential characters that serve to (in)form one another, such as Rosencrantz and Guildenstern (Rosencrantz and Guildenstern are Dead) or Vladimir and Estragon (Waiting for Godot) provide another fitting comparison. One becomes the other via a number of discourses which attempt to achieve a sense of Self or Identity for each protagonist. Only in juxtaposition do these two urinals become one, just as only in juxtaposition do we realize that Vladimir is ultimately Estragon and that these characters are reflective of a wider summary of Everyman.Gober began making sculptures of body parts in 1989 and they have become his most celebrated body of work. These sculptural body parts, such as 'butts', 'legs' and 'torsos', continue the simultaneity of presence and absence first evinced in the 'sinks' and 'urinals'. By displaying a dislocated foot, isolated on the floor and coming off the wall, Gober, again, points to the absence of the whole body. This physical disconnect lends the work an ambivalence that is eerie at the very least: one finds it difficult to approach them intellectually as objects given the sets of associations and understanding one brings to such a foot. Even though the image is highly charged, it remains almost undefined. Untitled Leg becomes what Theodora Vischer calls "... [a ] site that express[es] both loss but also renewal, as a starting point for a gaze that transforms our images of bodies and human beings... In shifting the representation of objects as simulacra of the body towards the representation of the body itself, the conflict between presence and absence is dramatically intensified." (Theodora Vischer, "Emblems of Transition" in Exh. Cat., Basel, Museum für Gegenwartskunst, Robert Gober, 1995, p. 50). Again, connections to Duchamp resound, but there are other tributaries of thought that provide rewarding context for this series of works. One can think about Untitled Leg as the continuation of the Surrealist credo, particularly as practiced by someone like Hans Bellmer whose contemplation of the figure embraced the trinity of object, subject and abject. It is with this series of Legs that Gober most powerfully displays his concern with Identity. How can one establish the homogeneity of Self, both physically and psychologically, through the isolated depiction of a mere leg, foot, torso or set of breasts?The following two works are outstanding examples by one of America's most distinguished artists working today. They powerfully display his deep investigation into codes of existence through the presence and absence of the human being, set against the background of the politics of sexuality and gender- an issue that continues to fascinate the artist, and which was most recently celebrated in his critically acclaimed solo exhibition at the Matthew Marks Gallery, New York in March 2005.

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l - ROBERT GOBER B. 1954 TWO URINALS

Lot 24: l - ROBERT GOBER B. 1954 TWO URINALS

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Description: plaster, wire lath, wood and enamel paints in two parts.Executed in 1986, this work is unique.PROVENANCEPaula Cooper Gallery, New YorkPrivate Collection, GermanyAcquired by the present owner from the aboveEXHIBITEDNew York, Paula Cooper Gallery, Robert Gober, October 1987Rotterdam, Museum Boymans-van Beuningen; Bern, Kunsthalle, Robert Gober, May - September 1990, p. 67 illustrated and p. 70, illustrated twice (installation in the artist's studio in 1987 and installation at the Paula Cooper Gallery in 1987)LITERATURE AND REFERENCESExh. Cat., Newport Beach, Newport Harbor Art Museum, Objectives: the New Sculpture, 1990, p. 67 illustrated in color and p. 70, illustrated (installation in the artist's studio in 1987)Exh. Cat., Minneapolis, Walker Art Center, Robert Gober: Sculpture & Drawing, 1999, p. 144, illustrated (installation at the Paula Cooper Gallery in 1987)

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Robert Gober (b. 1954)

Lot 26: Robert Gober (b. 1954)

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Description: Inverted Sink plaster, wood, wire lath, steel, semi-gloss enamel paint 661/4 x 1021/4 x 24 in. (168 x 260 x 61 cm.) Executed in 1985. This work is unique. PROVENANCE Paula Cooper Gallery, New York Edward Downe, New York Gagosian Gallery, New York Thomas Borgmann, Cologne Galerie Max Hetzler, Cologne Acquired from the above in 1993 LITERATURE U. Loock, K. Schampers and T. Fairbrother, Robert Gober, Rotterdam 1990, p.61 (illustrated). EXHIBITION New York, Paula Cooper Gallery, Robert Gober, September-October 1985. NOTES Inverted Sink is an important work from a series of signature sculptures that Robert Gober began in the early 1980s. Scores of preparatory drawings preceded the production of this work, perhaps one of the best known in his oeuvre . While Gober has produced almost forty variations of the sink - each one is unique and idiosyncratic. The focus of the artist's investigation is based on a simple, old-fashioned domestic sink, whose numerous permutations he has continued to explore up until the 1990s. It differs from his earlier, more conventional sinks however, because it has been distorted beyond recognition. While Inverted Sink makes reference to the real object, Gober has created the sculpture in a much more abstract vein and thus, the work takes on completely different connotations. Within this body of work Gober addresses various dualities: functionality and dysfunction, the familiar and the bizarre, the ordinary and the unique. The sink, a domestically non-descript motif, carries with it a psychological charge that is at once peculiar and common, mysterious and humorous. Furthermore, the highly distorted and almost surreal nature of Inverted Sink is not only ambiguous but nonsensical as it tilts downward on both sides at forty-five degree angles, making it completely useless. Through minor physical changes Gober has significantly altered the sink psychologically and has created a feeling of unease and precariousness in what otherwise appears to be a banal, domestic object. These sculptures suggest the ritual of cleansing while their lack of plumbing frustrates this possibility. The white surface, reductive purity, and refinement of form represent a fetishized concern with cleanliness, which in turn can be seen as a signifier of morality. While the artist's transformation of common household objects into subversive forms recall Duchamp's recontextualizing practice, his simple, reductive and repetitive forms also evoke Minimalist tendencies. Gober's Inverted Sink however, like all of his complex works, is imbued with an emotional and biographical quality and is invested with personal and symbolic meaning.

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Robert Gober (b. 1954)

Lot 27: Robert Gober (b. 1954)

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Description: Robert Gober (b. 1954) Untitled chrome-plated bronze 3¾ x 3¾ x 1¾in. (9.5 x 9.5 x 4.4cm.) Executed in 1993, this work is unique

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ROBERT GOBER, B. 1954

Lot 30: ROBERT GOBER, B. 1954

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Description: offset lithograph on wallpaper, unframed

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ROBERT GOBER (b. 1954)

Lot 31: ROBERT GOBER (b. 1954)

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Description: ROBERT GOBER (b. 1954)X Cribsigned, titled and dated Summer 1987 on the undersidewood and enamel paint44 by 50 1/2 by 33 1/4 in. 111.8 by 128.3 by 84.5cm.PROVENANCEPaula Cooper Gallery, New YorkAcquired by the present owner from the above in 1987LITERATUREJOSEPH MASHECK, "POETIC OBJECTS BY ROBERT GOBER, MICHAEL VENEZIA ON VIEW IN SOHO", THE NEW YORK OBSERVER, NOVEMBER 9, 1987, P. 16, ILLUSTRATEDSusanne Kotz,ed., Three Decades: The Oliver-Hoffmann Collection, Museum of Contemporary Art, Chicago, 1988, p. 64, fig. 3,illustrated in colorMaureen P. Sherlock, "Arcadian Elegy: The Art of Robert Gober", Arts, September 1989, p. 45,illustratedRobert Gober, Ulrich Loock and Karel Schampers, eds., Robert Gober, Rotterdam, Museum Boymans-van Beuningen and Kunsthalle Bern, 1990, p. 71, illustrated in colorThe painstaking ambiguity of Gober's brilliant sculptural vision allows him to transform seemingly everyday objects into multi-layered memorials to our existence. The standardized nature of the mass-produced objects which influence and inform our lives are witness to specific intrusions in their newly handcrafted form as the artist re-constructs their history.X Crib shows Gober delving into the myth of the 'happy home' of his own childhood experience to find a 'domestically nondescript motif' which constructs and evokes a particular era of formative experience.Raised in a strict Roman Catholic household, Gober found manytraditional family values constrictive and incompatible with the modern experience of the world. The media-manipulated ideals of the blissful domestic haven enveloping the nuclear American family after the war disintegrated with the realization of what was required to sustain this vision of sameness. It is in and around this psychologically charged sense of idyllic domesticity that Gober positions his investigations into the nostalgia for lost objects and false ideals, the sublimation of desire and the clash between individual beliefs and societal norms. Taking such a mediated icon of his own 1950s youth, a typical article of childhood family sitcom bliss, Gober's subtle re-construction of the crib turns the universal distant memory of an object-related experience into the object itself.The simplicity of form and smooth, glossy appearance of X Crib would appear, at first sight, to represent mechanical origins, as in a Duchampian appropriation of an existing commercial original as a work of art. However, closer inspection reveals differences within the object. Gober's subtle manipulation of the surface and massaging of the form creates a unique identity whichsubjects the re-creation of thisemotionally overloaded object to a bold cooling process. Taking the warm safety and square encapsulation of the protection bars, Gober disables their functionality and instead turns them into the cold isolation of a kind of Minimalist prison. The brutal piercing of the space dissects it into two symmetrically confrontational, claustrophobically (tri)angular isolation cells. Bearing traces of its manual production, traces of physical contact and bathed in the "timeless"warm white patina that often accompanies objects of comfort, X Crib takes the Minimalist form and lends it an uncanny terror which silentlypenetrates the viewer's subconscious. Playing with the received perception of the ideal crib as the harmonious bodily comfort zone and the secure locus of unity, Gober's twisted,tortured childhood cage articulates a physical and emotional confinement which somehow hints at an innocence lost and lends a sculptural form to the world of lived experience. This mute object, this silent thing has suddenly become a replica of aspecific feeling, a testimony to a domestic tragedy.

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Lot 35: GOBER, Robert (1954-, American)

Description: Three urinals, s.i.d.1988 enamel plaster wire lath wood three elements Sculpture (15x22x)22in.

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Robert Gober (B. 1954)

Lot 38: Robert Gober (B. 1954)

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Description: Robert Gober (B. 1954) Untitled signed, numbered and dated 'R. Gober '88 2 of 2' (on the reverse)gelatin silver print Image: 6½ x 9¾in. (16½ x 24 cm.)sheet: 8 x 10in. (20.3 x 25.4cm.)Executed in 1988, this work is number two from an edition of two plus one artist's proof

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ROBERT GOBER

Lot 38: ROBERT GOBER

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Description: Untitled Signed, numbered, and dated “R. Gober, ’92, 6/15” on the underside. This work is number six from an edition of 15 plus three artist’s proofs.

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