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Artists & Works
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Robert Lobe
American (b. 1951)
WINDY SPOT (1981)
aluminum wall sculpture
various dimensions |
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STYLE: Sculpture,
landscape
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©Robert Lobe |
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Robert Lobe brings a fresh outlook to environmentally-aware sculpture.
Working outdoors all year round, Lobe creates works like Windy
Spot by enveloping trees, rocks, roots, or other pieces of landscape
in sheets of aluminum. He pounds the aluminum until it duplicates
the natural shapes, then finishes it in his studio. The completed
works that result from this process can be seen as homages to nature
or as commentary on mans growing alienation from nature. Like George
Segal's white plaster figures, Lobe's work stands as a mute testimony
to an absent living form.
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CRITICAL EXCERPTS
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Barry Walker, Sticks and Stones catalogue, Katonah museum, 6/91
"A dissatisfaction with wood as a medium, however, led him, in 1976,
to begin considering...other media...Lobe uses aluminum in a repousse
technique with natural configurations of trees and rocks as his
matrix...he began to take sheets of aluminum into forests where
he selects rock and tree formations which he hammers into freestanding
and wall pieces. The lightness of the metal allows him to work in
large scale...Although his technique at first appears to render
a very true portrait of natural elements, the physical properties
of aluminum belie this, causing a somewhat eerie transformation...by
arbitrarily cropping his work and transporting it out of its natural
setting, he underscores the artificiality of his objects..."
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Kenneth Baker, Art
in America, 5/84
"Lobe's abbreviated trees have an opposite implication; they seem
to commemorate natural forms in the face of human threat. Lobe's reliefs
are highly theatrical; they seem at first to be doing to landscape
what George Segal's sculpture does to the human figure." |
Ken Johnson, ARTnews,
5/89
"This spectral quality is paradoxical, since one would expect Lobe's
simple but labor-intensive methodcomparable to the mechanical systems
of representation employed in Photo-Realismto minimize interpretive
distortion. There's a reminiscence of process art in that Lobe's interaction
with the material is foregrounded...Especially in the largest pieces
you get the impression of monumental toil and almost crazily overweening
ambition...one effect of these persuasively illusionist works is to
evoke nostalgia for the outdoors...The most effective of Lobe's sculptures
depend on raw scale." |
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Charlotta Kotik, Brooklyn Museum, Four Americans, 2/89
"Most of the sculptors whose work commands out attention are neither
trying to create radically new concepts nor trying to dissociate
themselves from those created in the past...Although a great diversity
of expression marks the present sculptural output, the sculptors
most frequently chose a fully three-dimensionally developed object
self-contained, relatively manageable, and executed in the more
traditional materialswood, metal, stone...This, the radical manifestations
of the late 1960s and early 1970s...did not being a lasting rupture
with the object-oriented past...Rather, the past is studies with
cool detachment and full awareness of present needs. The process
involved is analytical and selective, in keeping with the pragmatic
and self-centered atmosphere of our culture...The result is the
heterogeneity of recent sculpture...After the cerebral, strictly
defined forms of Minimalism, interest in the constantly changing
and frequently unpredictable forms of nature comes as no surprise....the
inspiration drawn from natural history and science continues to
contribute to the breadth of the current art scene... Lobe: Robert
Lobe portrays nature's physical state using forms directly derived
from a particular landscape configuration...his segments of natural
settings have an abstract quality resulting primarily from their
being removed from their original environment. Thus, isolating an
imprint of the mundane configuration of a tree, a boulder, or a
combination thereof, Lobe endows it with a power bestowed only on
the unique...He scouts the countryside for a particular formation...When
he selects his motif, he sets to work with sheets of aluminum...The
sheet envelops the stones, roots and tree trunks and is pounded...Lobe
works outdoors practically all year round, spending time in the
studio only when finishing his pieces...American nature...gives
power and form to his concepts and is an affirmation of his belief
in physical matter. The matter itself, however, is not present...Although
his art is frequently perceived as a commentary on man's alienation
from nature, a sort of paradise Lost, Lobe himself sees his pieces,
which result from intensely physical encounters with nature, as
immobile machines and stresses the constructivist character of his
work. His statement reflects our problematic and often destructive
relationship with nature, suggesting a tragic misalignment. Ultimately,
the beauty of nature's form repeatedly fills the artist with admiration
and awe." Lobe statement from catalogue: "I am obsessed with the
fact that these are machines. That physical objects are machinery
and that machinery doesn't have to move to be machinery."
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