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Seller's Description:
Very Good. Size: 8x0x9; Bound in publisher's cloth. Hardcover. No dust jacket. Good binding and cover. Shelf wear. Minimal stain to cover. Clean, unmarked pages. While Robert Gober's work addresses universal themes of loss and longing, his personal experiences deeply inform his art, charging each work with an acute sense of intimacy. Among his best-known works are his immersive installations, the first of which, created in 1992 at the Dia Center for the Arts in New York, included a barred window set high in a wall, bundles of hand-printed newspapers, and sculptures of sinks complete with running water, among other elements.
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Seller's Description:
Fair. HARDCOVER Acceptable-This is a significantly damaged book. It should be considered a reading copy only. Please order this book only if you are interested in the content and not the condition. May be ex-library. Oversized.
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Seller's Description:
Good (EX-LIBRARY, indicated only by a stamp on ffep; boards are lightly edgeworn/scuffed/smudged; interior is clean; binding is solid. ) Light blue boards with black lettering and red and white illustration; 79 pp.; richly illustrated, primarily in color. Robert Gober: Tick Tock', like the exhibition of the same name 'Gober's first since his 2014 survey at the Museum of Modern Art, is divided into three sections. In the first, a series of drawings depict tree trunks, human torsos and barred windows. The second section consists of 18 wall-mounted assemblages, including fragments and motifs from prior sculptures. In her essay, Helen Molesworth describes them as 'what happens to memories when they are literally objectified' when they take up residence outside of us. The final section centers on a sculpture first shown at the 2001 Venice Biennale. Inspired by Gober's childhood home and modeled after a church on Long Island, it depicts a pair of cellar doors opening onto a staircase set into the gallery floor. At the foot of the stairs, a yellow door with a handle of braided human hair seems to leak light around its edges. Illustrated with color plates, this book is a testament to the artist's explorations of faith and loss through metaphor. --WorldCat.
