Robert Gober, ‘Untitled’, Christie's

Signature: signed, numbered and dated 'R. Gober 10/15 '92' (on the underside)

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 am Main, Museum für Moderne Kunst, Change of Scene V, January-May 1994 (another example exhibited). Milan, Claudia Gian Ferreti Arte Contemporanea,

Nudo & Crudo, January-March 1996 (another example exhibited). New York, Whitney Museum of American Art,

Views from Abroad 2: European Perspectives on American Art 2, October 1996-January 1997 (another example exhibited).

Frankfurt am Main, Museum für Moderne Kunst, 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 (another example exhibited).

Deichtorhallen Hamburg, Emotion - Young British and American Artists from the Goetz Collection, October 1998-January 1999 (another example exhibited).

Musée d’art contemporain de Bordeaux, Presumed Innocent, June-October 2000 (another example exhibited).

New York, The Museum of Modern Art, Open Ends: Innocence and Experience, September 2000-January 2001 (another example exhibited).

Frankfurt am Main, Museum für Moderne Kunst, 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 (another example exhibited).

Santander, Fundaciòn Marcelino BotÍn, Snow White and the Seven Dwarfs, April-June 2005 (another example exhibited).

Frankfurt am Main, Museum für Moderne Kunst, Spinning the Web- the eBay Connection, September 2005-January 2006 (another example exhibited).

Southampton, The Parrish Art Museum, All the More Real, August-October 2007 (another example exhibited).

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 (another example exhibited).

New York, The FLAG Art Foundation, Disturbing Innocence, October 2014-January 2015 (another example exhibited).

C. G. Ferrari, Nudo y crudo: corpo sensibile, corpo visibile, exh. cat., Milan, 1996, pp. 34-35 (another example illustrated).

R. Storr, On the Edge: Contemporary Art from the Werner and Elaine Dannheisser Collection, exh. cat., New York, Museum of Modern Art, 1997, p. 48 (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.

E. Meyer-Hermann, "Reservoir," in The Oldest Possible Memory, Sammlung 1, exh. cat., Cologne, 2000, p. 80 (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).

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).

Maria Schneede, Mit Haut und Haaren: Der Körper in der zeitgenössischen, Cologne, 2002, p. 110 (another example illustrated).

R. Storr, "Robert Gober," in Disparites and Deformations, Our Grotesque: The Fifth International Site Santa Fe Biennial Exhibition, exh. cat., Santa Fe and New York: SITE Santa Fe and D.A.P., 2004, , p. 60 (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).

M. Falkenberg and E. Fischl, eds., All The More Real, exh. cat., Southampton, Parrish Art Museum, 2007, pp. 15, 64, 65 (another example illustrated).

T. Vischer, ed., Robert Gober: Sculptures and Installations 1979-2007, exh. cat. and cat. rais., Basel, 2007, pp. 336 and 367 (another example illustrated).

Paula Cooper Gallery, New York

Acquired from the above by the present owner, 1993

About Robert Gober

Sculptor and installation artist Robert Gober is a master of making the familiar seem strange. His works have psychological weight and are rife with possible meanings and references, exploring themes of family, religion, sexuality, alienation, and memory. Since the 1980s, Gober has been meticulously handcrafting common household items, human body parts, and objects of devotion. Among the objects he makes are beds, sinks, bags of cat litter, torsos and legs, candles, crucifixes, and church pews. Through selective exaggerations (such as intensifying the color on a bag of cat litter), meaningful alterations (like leaving out the faucets on a sink), and narrative juxtapositions (like lining the inside of a girl’s shoe with a sparse layer of hair), Gober mixes the real with the surreal in ways that fascinate, disturb, and disorient the viewer.

American, b. 1954, Wallingford, Connecticut, based in New York, New York