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Edlis Neeson Collection
ROBERT GOBER (B. 1954)
Cat Litter
Details
ROBERT GOBER (B. 1954)
Cat Litter
signed, titled and numbered 'Robert Gober 'Cat Litter' A.P.' (on the reverse)
plaster, ink and latex paint
17 x 8 x 5 in. (43.2 x 20.3 x 12.7 cm.)
Executed in 1989. This work is the second artist's proof from an edition of seven plus two artist's proofs.
Cat Litter
signed, titled and numbered 'Robert Gober 'Cat Litter' A.P.' (on the reverse)
plaster, ink and latex paint
17 x 8 x 5 in. (43.2 x 20.3 x 12.7 cm.)
Executed in 1989. This work is the second artist's proof from an edition of seven plus two artist's proofs.
Provenance
Acquired directly from the artist by the present owner, 2002
Literature
C. Gholson, “Robert Gober,” Bomb, Fall 1989, pp. 32 and 36 (another example illustrated).
L. Liebmann, “The Case of Robert Gober,” Parkett, No. 21, September 1989, p. 10 (another example illustrated).
M. Johnson, "Sad Story of a Starving Artist," The New York Post, 5 October 1989, p. 6.
R. Smith, “The Reinvented Americana of Robert Gober’s Mind,”The New York Times, 13 October 1989, p. C28 (another example illustrated).
M. Sundell, ”Robert Gober,” Seven Days, 18 October 1989, p. 73.
G. Bordowitz, “Who is Art?,” Outweek, 22 October 1989, p. 56 (another example illustrated).
T. Toms, "Sketchbook," Art & Antiques, December 1989, p. 29.
B. Adams, “Artschwager et Gober: D’ Etranges Cousins,” Artstudio, Hiver 1990, p. 76 (another example illustrated).
Robert Gober, exh. cat., Museum Boymans van- Beuningen, Rotterdam, 1990, pp. 80-81 (another example illustrated).
K. Johnson, “Cleaning House,” Art in America, January 1990, pp. 150-151 (another example illustrated).
T. R. Myers, “Reviews,” Flash Art, January-February 1990, p. 130 (another example illustrated).
G. Faust, “New York in Review," Arts Magazine, January 1990, p.101 (another example illustrated).
The Readymade Boomerang: Certain Relations in 20th Century Art: The Eighth Biennale of Sydney, exh. cat., Sydney, Art Gallery of New South Wales, 1990, pp. 402-403 (another example illustrated).
E. Cappuccio, “The Work and Its Aura,” Tema Celeste, January-March 1990, p. 35 (another example illustrated).
Objectives: The New Sculpture, exh. cat., Newport Beach, Newport Harbor Art Museum, 1990, p. 80 (another example illustrated).
M. Weinstein, “The House of Fiction,” Artforum, February 1990, p. 131 (another example illustrated).
R. Mahoney, “Reviews,” Contemporanea, February 1990, p. 95.
Culture and Commentary: An Eighties Perspective, exh. cat., Washington, D.C., Hirshhorn Museum and Sculpture Garden, 1990, n.p.
“Letters: Doughnuts & The Feline Mystique,” Art in America, March 1990, p. 31.
R. Flood, “Robert Gober: Special Editions, An Interview,” Print Collector’s Newsletter, March-April 1990, pp. 6-9 (another example illustrated).
N. Princethal, “Rooms with a View,” Sculpture Magazine, March-April 1990, p. 28 (another example illustrated).
R. Kimball, “Vistas of Inanity: Art and Ideas in the Eighties,” The New Criterion, April 1990, pp. 38-43.
G. Indiana, “Success: Robert Gober,” Interview, May 1990, p. 72.
C. Lumby, “Sydney Biennial,” Flash Art, Summer 1990, p.180 (another example illustrated).
A. Wallach, "The Emblems of Private Life," New York Newsday, 12 August 1990, Part II, p. 16.
V. Hopkins Winner, “Culture and Commentary: An Eighties Perspective,” ARTnews, September 1990, p. 172.
P. Hansford, “The Readymade Boomerang,” Artscribe, September-October 1990, p. 102 (another example illustrated).
J. M. Imbach, "Bis an die Grenze des Erträglichen," Berner Rundschau, 7 September 1990 n.p. (another example illustrated).
J. M. Imbach, "Bis an die Grenze des Erträglichen," Luzerner Neuste Nachrichten, 10 September 1990 n.p. (another example illustrated).
Culture in Pieces: Other Social Objects, exh. cat., Glenside, Beaver College Art Gallery, 1990, n.p. (another example illustrated).
Meeting Place, exh. cat., Toronto, Art Gallery of York University, 1990, p. 9.
N. Messler, “Robert Gober: Museum Boymans-van Beuningen,” Artforum, November 1990, pp. 182-183.
W. Lippert, “Von Gewisper der Bilder," Jahresing 37, November 1990, pp. 60-61 (another example illustrated).
R. Denizot, “Ulrich Loock,” Galeries Magazine, December 1990-January 1991, p. 109 (another example illustrated).
C. Schenker, “Robert Gober, Museum Boymans-van Beuningen, Kunsthalle Bern,” Flash Art, January-February 1991, pp. 141-142.
Robert Gober, exh. cat., Paris, Galerie Nationale du Jeu de Paume, 1991, n.p. (another example illustrated).
H. R. Reust, “Robert Gober,” Artscribe, January-February 1991, p. 94 (another example illustrated).
J. Helfenstein, “The Power of Intimacy,” Parkett, No. 27, March 1991, p. 32 (exhibition view illustrated).
E. Janus, “Robert Gober,” Tema Celeste, March-April 1991, pp. 100-101.
H. Szeemann, "The Fount of Youth Gober la Bourgeoisie!," Parkett, No. 27, March 1991, p. 75.
Strange Abstraction, exh. cat., Tokyo, Touko Museum of Contemporary Art, 1991, pp. 26-27 (another example illustrated).
J. Simon, “Robert Gober: Oeuvres Nouvelles,” Art Press, October 1991, p. 40 (another example illustrated).
D. Cameron, “Robert Gober,” Galeries Magazine, October-November 1991, p. 92 (another example illustrated).
Le Lieu de L'oeuvre: Bustamante, Gober, Klingelhöller, Mucha, Schütte, Vercruysse, exh. cat., Kunsthalle Bern, 1992, p. 65 (exhibition view illustrated).
Robert Gober, exh. cat., Madrid, Museo Nacional Centro de Arte Reina Sofia, 1992, n.p. (another example illustrated).
C'est pas la fin du monde un point de vue sur l'art des années 80, exh. cat., Rennes, Centre d'histoire de l'art contemporain, 1992, p. 183 (exhibition view illustrated).
Zeitsprünge: Sammlung Rudolf and Ute Scharpff, exh. cat., Ludwigshafen am Rhein, Wilhelm-Hack-Museum, 1993, pp. 22-23 (illustrated).
B. Sewell, "Penile Dementia," The Daily Standard, 4 March 1993.
Robert Gober, exh. cat., London, Serpentine Gallery, 1993, pp. 26-28 (another example illustrated).
"If You Go Down to the Park Today...," The Daily Telegraph, 11 March 1993.
The Independent, 11 March 1993 (another example illustrated).
M. O'Flaherty, "Blinds Come Down for Off-the-Wall Privates on Parade," Daily Express, 12 March 1993, p. 7.
S. Kent, “UnAmerican Dreams,” Time Out London, March 1993, p. 19 (another example illustrated).
R. Dorment, “A Vile Talent to Disturb,” The Daily Telegraph, 17 March 1993, p. 22.
W. Feaver, “Of Couples and Their Cat Litter,” The Observer, 21 March 1993.
W. Packer, “Morbid Modern Message,” The Financial Times, 23 March 1993.
J. McEwen, “Dreams Down the Plughole,” The Sunday Telegraph, 28 March 1993.
J. Hyman, “All Is Not As It Seems,” Ra Magazine, Spring 1993, p. 19.
S. Morgan, "Robert Gober," Art Monthly, April 1993, p. 21.
T. Vischer, Robert Gober Sculptures and Installations 1979-2007, Basel, 2007, p. 236, no. S1989.05 (another example illustrated).
L. Liebmann, “The Case of Robert Gober,” Parkett, No. 21, September 1989, p. 10 (another example illustrated).
M. Johnson, "Sad Story of a Starving Artist," The New York Post, 5 October 1989, p. 6.
R. Smith, “The Reinvented Americana of Robert Gober’s Mind,”The New York Times, 13 October 1989, p. C28 (another example illustrated).
M. Sundell, ”Robert Gober,” Seven Days, 18 October 1989, p. 73.
G. Bordowitz, “Who is Art?,” Outweek, 22 October 1989, p. 56 (another example illustrated).
T. Toms, "Sketchbook," Art & Antiques, December 1989, p. 29.
B. Adams, “Artschwager et Gober: D’ Etranges Cousins,” Artstudio, Hiver 1990, p. 76 (another example illustrated).
Robert Gober, exh. cat., Museum Boymans van- Beuningen, Rotterdam, 1990, pp. 80-81 (another example illustrated).
K. Johnson, “Cleaning House,” Art in America, January 1990, pp. 150-151 (another example illustrated).
T. R. Myers, “Reviews,” Flash Art, January-February 1990, p. 130 (another example illustrated).
G. Faust, “New York in Review," Arts Magazine, January 1990, p.101 (another example illustrated).
The Readymade Boomerang: Certain Relations in 20th Century Art: The Eighth Biennale of Sydney, exh. cat., Sydney, Art Gallery of New South Wales, 1990, pp. 402-403 (another example illustrated).
E. Cappuccio, “The Work and Its Aura,” Tema Celeste, January-March 1990, p. 35 (another example illustrated).
Objectives: The New Sculpture, exh. cat., Newport Beach, Newport Harbor Art Museum, 1990, p. 80 (another example illustrated).
M. Weinstein, “The House of Fiction,” Artforum, February 1990, p. 131 (another example illustrated).
R. Mahoney, “Reviews,” Contemporanea, February 1990, p. 95.
Culture and Commentary: An Eighties Perspective, exh. cat., Washington, D.C., Hirshhorn Museum and Sculpture Garden, 1990, n.p.
“Letters: Doughnuts & The Feline Mystique,” Art in America, March 1990, p. 31.
R. Flood, “Robert Gober: Special Editions, An Interview,” Print Collector’s Newsletter, March-April 1990, pp. 6-9 (another example illustrated).
N. Princethal, “Rooms with a View,” Sculpture Magazine, March-April 1990, p. 28 (another example illustrated).
R. Kimball, “Vistas of Inanity: Art and Ideas in the Eighties,” The New Criterion, April 1990, pp. 38-43.
G. Indiana, “Success: Robert Gober,” Interview, May 1990, p. 72.
C. Lumby, “Sydney Biennial,” Flash Art, Summer 1990, p.180 (another example illustrated).
A. Wallach, "The Emblems of Private Life," New York Newsday, 12 August 1990, Part II, p. 16.
V. Hopkins Winner, “Culture and Commentary: An Eighties Perspective,” ARTnews, September 1990, p. 172.
P. Hansford, “The Readymade Boomerang,” Artscribe, September-October 1990, p. 102 (another example illustrated).
J. M. Imbach, "Bis an die Grenze des Erträglichen," Berner Rundschau, 7 September 1990 n.p. (another example illustrated).
J. M. Imbach, "Bis an die Grenze des Erträglichen," Luzerner Neuste Nachrichten, 10 September 1990 n.p. (another example illustrated).
Culture in Pieces: Other Social Objects, exh. cat., Glenside, Beaver College Art Gallery, 1990, n.p. (another example illustrated).
Meeting Place, exh. cat., Toronto, Art Gallery of York University, 1990, p. 9.
N. Messler, “Robert Gober: Museum Boymans-van Beuningen,” Artforum, November 1990, pp. 182-183.
W. Lippert, “Von Gewisper der Bilder," Jahresing 37, November 1990, pp. 60-61 (another example illustrated).
R. Denizot, “Ulrich Loock,” Galeries Magazine, December 1990-January 1991, p. 109 (another example illustrated).
C. Schenker, “Robert Gober, Museum Boymans-van Beuningen, Kunsthalle Bern,” Flash Art, January-February 1991, pp. 141-142.
Robert Gober, exh. cat., Paris, Galerie Nationale du Jeu de Paume, 1991, n.p. (another example illustrated).
H. R. Reust, “Robert Gober,” Artscribe, January-February 1991, p. 94 (another example illustrated).
J. Helfenstein, “The Power of Intimacy,” Parkett, No. 27, March 1991, p. 32 (exhibition view illustrated).
E. Janus, “Robert Gober,” Tema Celeste, March-April 1991, pp. 100-101.
H. Szeemann, "The Fount of Youth Gober la Bourgeoisie!," Parkett, No. 27, March 1991, p. 75.
Strange Abstraction, exh. cat., Tokyo, Touko Museum of Contemporary Art, 1991, pp. 26-27 (another example illustrated).
J. Simon, “Robert Gober: Oeuvres Nouvelles,” Art Press, October 1991, p. 40 (another example illustrated).
D. Cameron, “Robert Gober,” Galeries Magazine, October-November 1991, p. 92 (another example illustrated).
Le Lieu de L'oeuvre: Bustamante, Gober, Klingelhöller, Mucha, Schütte, Vercruysse, exh. cat., Kunsthalle Bern, 1992, p. 65 (exhibition view illustrated).
Robert Gober, exh. cat., Madrid, Museo Nacional Centro de Arte Reina Sofia, 1992, n.p. (another example illustrated).
C'est pas la fin du monde un point de vue sur l'art des années 80, exh. cat., Rennes, Centre d'histoire de l'art contemporain, 1992, p. 183 (exhibition view illustrated).
Zeitsprünge: Sammlung Rudolf and Ute Scharpff, exh. cat., Ludwigshafen am Rhein, Wilhelm-Hack-Museum, 1993, pp. 22-23 (illustrated).
B. Sewell, "Penile Dementia," The Daily Standard, 4 March 1993.
Robert Gober, exh. cat., London, Serpentine Gallery, 1993, pp. 26-28 (another example illustrated).
"If You Go Down to the Park Today...," The Daily Telegraph, 11 March 1993.
The Independent, 11 March 1993 (another example illustrated).
M. O'Flaherty, "Blinds Come Down for Off-the-Wall Privates on Parade," Daily Express, 12 March 1993, p. 7.
S. Kent, “UnAmerican Dreams,” Time Out London, March 1993, p. 19 (another example illustrated).
R. Dorment, “A Vile Talent to Disturb,” The Daily Telegraph, 17 March 1993, p. 22.
W. Feaver, “Of Couples and Their Cat Litter,” The Observer, 21 March 1993.
W. Packer, “Morbid Modern Message,” The Financial Times, 23 March 1993.
J. McEwen, “Dreams Down the Plughole,” The Sunday Telegraph, 28 March 1993.
J. Hyman, “All Is Not As It Seems,” Ra Magazine, Spring 1993, p. 19.
S. Morgan, "Robert Gober," Art Monthly, April 1993, p. 21.
T. Vischer, Robert Gober Sculptures and Installations 1979-2007, Basel, 2007, p. 236, no. S1989.05 (another example illustrated).
Exhibited
Washington D.C., Hirshhorn Museum and Sculpture Garden, Culture and Commentary: An Eighties Perspective, February-May 1990.
Sydney, Art Gallery of New South Wales, The Readymade Boomerang: Certain Relations in 20th Century Art, April-June 1990 (another example exhibited).
Glenside, Beaver College Art Gallery, Culture in Pieces: Other Social Objects, September-October (another example exhibited).
Tokyo, Touko Museum of Contemporary Art, Strange Abstraction: Robert Gober, Cady Noland, Philip Taaffe, Christopher Wool, June-August 1991 (another example exhibited).
London, Serpentine Galleries and Liverpool, Tate Gallery, Robert Gober, March-August 1993.
Basel, Museum fur Gegenwartskunst, Zimmer in denen die Zeit nicht zählt: Die Sammlung Udo und Anette Brandhorst, June-October 1994 (another example exhibited).New York, APEX Art, Try a Little Tenderness, November 1996-January 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).
Malmo, Rooseum Center for Contemporary Art, A House is Not a Home, October-December 1997 (another example exhibited).
Southampton, The Parrish Art Museum, Dreams for the Next Century: A View of the Collection, July-September 1998.
New York, The Museum of Modern Art, Open Ends: Actual Size, October 2000-January 2001 (another example exhibited).
Albany, New York State Museum, Strangely Familiar: Approaches to Scale in the Collection of The Museum of Modern Art, April-June 2003 (another example exhibited).
University of Cambridge, The Unhomely, November 2003-January 2004 (another example exhibited).
San Francisco Museum of Modern Art, Supernova: Art of the 1990s from the Logan Collection, December 2003-May 2004 (another example exhibited).
Tokyo, Mori Art Museum, Modern Means: Continuity and Change in Art, 1880 to the Present: Highlights from The Museum of Modern Art, April-August 2004 (another example exhibited).
Columbus, Wexner Center for the Arts, Part Object Part Sculpture, October 2005-February 2006.
New York, The Museum of Modern Art, Here Is Every. Four Decades of Contemporary Art, September 2008-March 2009 (another example exhibited).
New York, The Museum of Modern Art, Contemporary Galleries: 1980-Now, November 2011-February 2014 (another example exhibited).
New York, The Metropolitan Museum of Art and Pittsburgh, The Andy Warhol Museum, Regarding Warhol: Sixty Artists, Fifty Years, September 2012-April 2013 (another example exhibited).
Jerusalem, The Israel Museum, No Place Like Home, February-July 2017 (another example exhibited).
Malmo, Moderna Museet, Om det absurda dramat som också är liveet (About the Absurd Drama That Is Also Life), October 2024-February 2025 (another example exhibited).
Sydney, Art Gallery of New South Wales, The Readymade Boomerang: Certain Relations in 20th Century Art, April-June 1990 (another example exhibited).
Glenside, Beaver College Art Gallery, Culture in Pieces: Other Social Objects, September-October (another example exhibited).
Tokyo, Touko Museum of Contemporary Art, Strange Abstraction: Robert Gober, Cady Noland, Philip Taaffe, Christopher Wool, June-August 1991 (another example exhibited).
London, Serpentine Galleries and Liverpool, Tate Gallery, Robert Gober, March-August 1993.
Basel, Museum fur Gegenwartskunst, Zimmer in denen die Zeit nicht zählt: Die Sammlung Udo und Anette Brandhorst, June-October 1994 (another example exhibited).New York, APEX Art, Try a Little Tenderness, November 1996-January 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).
Malmo, Rooseum Center for Contemporary Art, A House is Not a Home, October-December 1997 (another example exhibited).
Southampton, The Parrish Art Museum, Dreams for the Next Century: A View of the Collection, July-September 1998.
New York, The Museum of Modern Art, Open Ends: Actual Size, October 2000-January 2001 (another example exhibited).
Albany, New York State Museum, Strangely Familiar: Approaches to Scale in the Collection of The Museum of Modern Art, April-June 2003 (another example exhibited).
University of Cambridge, The Unhomely, November 2003-January 2004 (another example exhibited).
San Francisco Museum of Modern Art, Supernova: Art of the 1990s from the Logan Collection, December 2003-May 2004 (another example exhibited).
Tokyo, Mori Art Museum, Modern Means: Continuity and Change in Art, 1880 to the Present: Highlights from The Museum of Modern Art, April-August 2004 (another example exhibited).
Columbus, Wexner Center for the Arts, Part Object Part Sculpture, October 2005-February 2006.
New York, The Museum of Modern Art, Here Is Every. Four Decades of Contemporary Art, September 2008-March 2009 (another example exhibited).
New York, The Museum of Modern Art, Contemporary Galleries: 1980-Now, November 2011-February 2014 (another example exhibited).
New York, The Metropolitan Museum of Art and Pittsburgh, The Andy Warhol Museum, Regarding Warhol: Sixty Artists, Fifty Years, September 2012-April 2013 (another example exhibited).
Jerusalem, The Israel Museum, No Place Like Home, February-July 2017 (another example exhibited).
Malmo, Moderna Museet, Om det absurda dramat som också är liveet (About the Absurd Drama That Is Also Life), October 2024-February 2025 (another example exhibited).
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