October 04, 2014–January 18, 2015
Robert Gober: The Heart Is Not a Metaphor is the first large-scale survey of Robert Gober’s career to take place in the United States. Robert Gober (American, b. 1954) rose to prominence in the mid-1980s and was quickly acknowledged as one of the most significant artists of his generation. Early in his career he made deceptively simple sculptures of everyday objects—beginning with sinks before moving on to domestic furniture such as playpens, beds, and doors. Read More.
“Christopher Williams: The Production Line of Happiness—the first retrospective ever mounted of Christopher Williams (American, b. 1956)—spans the impressive 35-year career of one of the most influential cinephilic artists working in photography. Williams studied at the California Institute of the Arts in the mid to late 1970s under the first wave of West Coast Conceptual artists, including John Baldessari, Douglas Huebler, and Michael Asher, only to become his generation’s leading Conceptualist and art professor; he is currently professor of photography at the Kunstakademie Düsseldorf. Deeply invested in the histories of photography and film, architecture and design, Williams has produced a concise oeuvre that furthers a critique of late capitalist society in which images typically function as agents of spectacle.” Read More.
There are four days remaining in 2013 so we thought we would countdown and share with you some of the items and ideas we would put in our time capsule. For us they straddle the very specific space of the timely with the timeless. Sometimes sublimely anachronistic but always fundamentally classic.
Brendan Fowler. Winter 2011–Fall 2012 (Joel and Sean and Carol and Chadwick Installing at Untitled 3, “Miles’” Security Jacket, Andrea Told the People at Café Gratitude That It Was Maxwell’s Birthday When It Wasn’t, Andrea’s Cousin’s Cousin’s House on Easter, Ry Showing New UNTITLED Logo, Photographic Arts Center, Coronado Ter. Screen Door, Proofing ANPQ 16 with Casey, What Wendy Saw). 2013. Pigmented inkjet prints, frames, wood,100 1/2 x 74 1/4″ (255.3 x 188.6 cm). Courtesy the artist and UNTITLED, New York. © Brendan Fowler