Robert Gober: The Heart Is Not a Metaphor
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About the Author
Ann Temkin is an American art curator, and currently the Marie-Josée and Henry Kravis Chief Curator of Painting and Sculpture at the Museum of Modern Art in New York.
Hilton Als is an American writer and theater critic who writes for The New Yorker.
Claudia Carson is archivist and registrar to Robert Gober.
Paulina Pabocha is Assistant Curator in the Department of Painting and Sculpture at The Museum of Modern Art.
Christian Scheidemann is the Senior Conservator and President of Contemporary Conservation Ltd.
What claims our attention is not so much Gober's quotidian subjects as the intentness with which he reconstitutes ordinary objects; this is his way of possessing them. Gober's laconic perfectionism lends humdrum stuff an eeriness. I feel that eeriness in teh subtle shadow play he reveals in his plainly carpentered cloest, in the delicacy of human hairs inserted into the wax surface of a sculpted leg, and in the trompe l'oeil finesse with which he paints the label on the battered Benjamin Moore can. Gober keeps his virtuosity tamped down adn under wraps. His weird world is constructed with teh meticulousness of a jeweler putting together a Faberge egg.--Jed Perl "The New York Review of Books "
In the mid-1980's Robert Gober began to receive significant art-world attention for his sculptres of everyday domestic objects embedded with references to social justice, freedom adn tolerance. The oblique works offers a socio-political and psyhcological end-of-the-twentieth-century context to their mundane formal structures.--The Editors "THE Magazine "
The heart is an excitable physical organ that registers sensations of fight or flight and of love or aversion: the first and last unimpeachable witness to what can't help but matter, for good and for ill, in every life.--Peter Schjeldahl "The New Yorker "