George Lindemann Journal by George Lindemann "MoMA Plans a Robert Gober Retrospective" @nytimes
An untitled installation by Robert Gober from 1992 that features a hand-painted forest mural. Credit 2014 Robert Gober, Bill Jacobson/Matthew Marks Gallery
It seems almost inconceivable that there has never been a Robert Gober retrospective in an American museum. This 59-year-old artist, who rose to prominence in the mid-1980s, is perhaps best known for his creepy sculptures of body parts — a cast wax leg or torso with individually applied hairs on them — as well as his signature sinks fashioned from plaster painted with enamel.
But for several years now, Ann Temkin, chief curator of painting and sculpture at the Museum of Modern Art, has been quietly working on “The Heart Is Not a Metaphor,” a large-scale survey of Mr. Gober’s work, which will be on view there from Oct. 11 to Jan. 18, 2015. The show’s title, chosen by Mr. Gober, is taken from a sentence in “Sleepless Nights,” a 1979 novel by Elizabeth Hardwick, because, Ms. Temkin said, he often chooses enigmatic phrases for exhibitions.
So often, organizing an exhibition of a living artist’s work can be a tug-of-war between curator and artist. But what few realize is that, in addition to being a celebrated artist, Mr. Gober is also an active curator. He has organized exhibitions, like the paintings of Charles Burchfield at the Hammer Museum in Los Angeles and the Whitney Museum of American Art; he also put together a room of works by the painter Forrest Bess at the Whitney’s 2012 Biennial. “Robert is totally involved and approaching himself as if he were one of his subjects,” Ms. Temkin said.
Robert Gober's Untitled Leg, 1989-90, made with beeswax, cotton, wood and human hair. Credit 2014 Robert Gober, Museum of Modern Art
Over the years, he has been particularly influential among a generation of artists too young to have seen his only previous retrospective, which took place in 2007 at the Schaulager in Basel, Switzerland, or the meticulously carved doll’s house that he made when he was just 24 and struggling to get by, which was included in the 2013 Venice Biennale (organized by Cindy Sherman).
The show at MoMA will include about 130 works in all mediums. There will be many well-known objects but also some rare sculptures and new works made just for the retrospective.
Because some of his sculptural installations involve plumbing — like sinks and bathtubs with running water — and others, like a room-size, hand-painted mural depicting a New England forest in summer, need space, the show will take place in the contemporary art galleries on the second floor, rather than the museum’s special exhibition galleries on the sixth.
ART AS MAGAZINE INSERT
In January 2013, to celebrate its 100th anniversary, the magazine Art in America lined up a year’s worth of artists to design its monthly covers. Big names like Richard Prince, Cindy Sherman, Urs Fischer and Louise Lawler have all been contributors. “We’ve loved doing it so much we’ve just continued,” said Lindsay Pollock, the editor in chief.
Now, the magazine is going one better. Tucked inside the May issue, on newsstands April 29, will be a specially commissioned print by Jasper Johns on perforated paper that can be carefully torn out and framed. A black-and-white lithograph on translucent vellum, it depicts many of Mr. Johns’s signature motifs: numbers, a map of the United States and sign language.
“Amid all the recent consternation about the art world’s fixation on money and glitz, Jasper Johns and Art in America are going against the grain by offering a substantial, free piece of art by a legendary artist,” Ms. Pollock said.
The print is a co-publication with the independent curator and print expert Sharon Hurowitz and has been produced by Bill Goldston, the print publisher, at Universal Limited Art Editions. It is only the second time Mr. Johns has collaborated with a magazine on a project. In 1973, he produced a print called “Cups 2 Picasso,” for XXieme Siècle, a French publication.
BURIED IN THE SUBURBS
A pair of 14-foot-tall salvaged box trucks, their cabs submerged in the ground and set amid the impeccably manicured polo fields that surround the Brant Foundation Art Study Center in Greenwich, Conn., may seem like a messy intrusion. They are meant to. But the installation, which the New York artist Dan Colen has titled “At Least They Died Together (After Dash),” will be the first thing visitors see.
“It’s about bringing the city to some other place,” Mr. Colen said. “I wanted to bring a bit of the city with me. From a distance they will just look like minimal cubes.”
Mr. Colen found the trucks on Craigslist. “At first I was looking for trucks with graffiti on them, but then I changed my mind because graffiti seemed too redundant,” he said.
The title refers to a collage that his friend, the artist Dash Snow, gave him before his death in 2009. It is a prelude to “Help!” a comprehensive show of his work on view there from May 11 through Sept. 7. Included in the show are more than 45 paintings, 15 sculptures, drawings and one video.
“Dan’s one of the better painters around,” said Peter Brant, the collector and founder of the foundation, who coincidentally owns Art in America. “I’ve been collecting his work for six or seven years now.”
SPONSOR REOPENS WALLET
Since opening its elegantly pleated, stainless-steel building designed by Zaha Hadid in 2012, the Eli and Edythe Broad Art Museum at Michigan State University in East Lansing has presented 32 exhibitions and attracted more than 125,000 people, which is boosting the local economy there by about $5 million a year, according to museum officials.
To mark Michael Rush’s second year as director, Mr. Broad, the Los Angeles financier who founded the institution with his wife, has given $5 million to increase its exhibition endowment and to provide annual funds for shows over the next five years. The Broads provided the initial $28 million gift for the design and construction of the museum and for its endowment, which now totals $33 million.