Jump to content

Robert Yarber: Difference between revisions

From Wikipedia, the free encyclopedia
Browse history interactively
← Previous edit
Content deleted Content added
VisualWikitext
Monkbot (talk | contribs)
Bots
3,695,952 edits
Citation bot (talk | contribs)
Bots
5,374,871 edits
Add: date, title. Changed bare reference to CS1/2. | Use this bot. Report bugs. | Suggested by BrownHairedGirl | Linked from User:BrownHairedGirl/Articles_with_bare_links | #UCB_webform_linked 1562/2194
 
(42 intermediate revisions by 24 users not shown)
Line 1: Line 1:
{{Infobox artist
{{Infobox artist
| bgcolour = #6495ED
| name = Robert Yarber
| name = Robert Yarber
| image =
| image =
| imagesize = 180px
| image_size = 180px
| caption = Yarber
| caption =
| birth_name =
| birth_name =
| birth_date = {{birth-date|November 18, 1948}}
| birth_date = {{birth date and age|1948|11|18}}
| birth_place = [[Dallas,Texas]]
| birth_place = [[Dallas,Texas]]
| death_date =
| death_date =
| death_place =
| death_place =
| nationality = American
| nationality = American
| field = Painting
| known_for = Painting
| training = BFA [[Cooper Union]], MFA [[Louisiana State University]]
| training = BFA [[Cooper Union]], MFA [[Louisiana State University]]
| movement =
| movement =
| works =
| notable_works =
| patrons =
| patrons =
| influenced by =
| influenced =
| awards =
| awards =
}}
}}
[[File:Big Fall, 1984.jpg|thumb|Big Fall, 1984. Oil on canvas, Whitney Museum collection]]


'''Robert Yarber''' (born [[Dallas]], Texas, 1948) is an American painter and Distinguished Professor of Art at [[Pennsylvania State University]]. He received a BFA from [[Cooper Union]] in 1971, and an MFA from [[Louisiana State University]] in 1973.<ref>{{cite web|title=Robert Yarber|url=https://www.sova.psu.edu/faculty_staff/faculty_directory/robert_yarber/robert_yarber|work=PSU School of Visual Arts|publisher=[[Pennsylvania State University]]|accessdate=January 25, 2011}}</ref>
'''Robert Yarber''' (born [[Dallas]], Texas, 1948) is an American painter and Professor of Art at [[Pennsylvania State University]]. He received a BFA from [[Cooper Union]] in 1971, and an MFA from [[Louisiana State University]] in 1973.<ref>{{cite web|title=Robert Yarber|url=https://www.sova.psu.edu/faculty_staff/faculty_directory/robert_yarber/robert_yarber|work=PSU School of Visual Arts|publisher=[[Pennsylvania State University]]|access-date=January 25, 2011|url-status=dead|archive-url=https://web.archive.org/web/20100621212313/https://www.sova.psu.edu/faculty_staff/faculty_directory/robert_yarber/robert_yarber|archive-date=June 21, 2010}}</ref>


Yarber gained international attention when his work was included in "Paradise Lost/Paradise Regained: American Visions of the New Decade", an exhibit organized by the [[New Museum]] for display in the American Pavilion at the 41st [[Venice Biennale]] in 1984.<ref>{{cite journal|last=Ennis|first=Michael|title=Venetian Finds|journal=[[Texas Monthly]]|date=February 1984|pages=128–130}}</ref> At the Venice Biennale, he was one of twenty-four artists (including [[Roger Brown (artist)|Roger Brown]], [[Howard Finster|Rev. Howard Finster]], Cheryl Laemmle, [[Jedd Garet]], [[April Gornik]], and [[Eric Fischl]]) represented in the United States pavilion.<ref>{{cite book|last=Shamam|first=Sanford Sivitz|title=Robert Yarber Paintings: 1980–1988, Palmer Museum of Art, ISBN 0-911209-39-5|year=1989}}</ref> Yarber gained further prominence with his inclusion in the [[Whitney Biennial]] in 1985.<ref>{{cite journal|last=Wolff|first=Theodore F.|title=The Whitney's Biennial. Eye-popping but incomplete...|journal=[[The Christian Science Monitor]]|date=April 15, 1985}}</ref> In 1990, Yarber, along with artists Janet Woolley, [[Jenny Holzer]] and the illustrators Lou Brooks and Marvin Mattelson, participated in a MTV advertising campaign in [[Rolling Stone magazine]] that allowed them the freedom to create an illustration without specific requirements.<ref>{{cite news|last=Louie|first=Elaine|title= Style Makers; Noel Frankel, Creative Director, Advertising Agency|url=http://query.nytimes.com/gst/fullpage.html?res=9C0CE2D61E3EF936A3575BC0A966958260|accessdate=February 10, 2011|newspaper=[[The New York Times]]|date=August 5, 1990}}</ref>
Yarber gained international attention when his work was included in "Paradise Lost/Paradise Regained: American Visions of the New Decade", an exhibit organized by the [[New Museum]] for display in the American Pavilion at the 41st [[Venice Biennale]] in 1984.<ref>{{cite journal|last=Ennis|first=Michael|title=Venetian Finds|journal=[[Texas Monthly]]|date=February 1984|pages=128–130}}</ref> At the Venice Biennale, he was one of twenty-four artists (including [[Roger Brown (artist)|Roger Brown]], [[Howard Finster|Rev. Howard Finster]], [[Cheryl Laemmle]], [[Jedd Garet]], [[April Gornik]], and [[Eric Fischl]]) represented in the United States pavilion.<ref>{{cite book|last=Shamam|first=Sanford Sivitz|title=Robert Yarber Paintings: 1980–1988, Palmer Museum of Art |isbn=0-911209-39-5 |year=1989}}</ref> Yarber gained further prominence with his inclusion in the [[Whitney Biennial]] in 1985.<ref>{{cite journal|last=Wolff|first=Theodore F.|title=The Whitney's Biennial. Eye-popping but incomplete...|journal=[[The Christian Science Monitor]]|date=April 15, 1985}}</ref> In 1990, Yarber, along with artists Janet Woolley, [[Jenny Holzer]] and the illustrators Lou Brooks and Marvin Mattelson, participated in an MTV advertising campaign in [[Rolling Stone magazine]] that allowed them the freedom to create an illustration without specific requirements.<ref>{{cite news|last=Louie|first=Elaine|title= Style Makers; Noel Frankel, Creative Director, Advertising Agency|url=https://query.nytimes.com/gst/fullpage.html?res=9C0CE2D61E3EF936A3575BC0A966958260|access-date=February 10, 2011|newspaper=[[The New York Times]]|date=August 5, 1990}}</ref>


Yarber has been credited with influencing the [[Terry Gilliam]] film [[Fear and Loathing in Las Vegas (film)]], (1998). According to cinematographer [[Nicola Pecorini]], the look of the film was influenced by Yarber's paintings that are "Very hallucinatory: the paintings use all kinds of neon colors, and the light sources don't necessarily make sense."<ref name= "Pizzello, Stephen">{{cite news | last = Pizzello | first = Stephen | title = Gonzo Filmmaking | pages = 30–41 | work = [[American Cinematographer]] | date = May 1998 | url = | accessdate = }}</ref> According to Gilliam, they used him as a guide "While mixing our palette of deeply disturbing fluorescent colors."<ref name= "Pizzello2">{{cite news | last = Pizzello | first = Stephen | title = Unholy Grail | pages = 42–47 | work = [[American Cinematographer]] | date = May 1998 | url = | accessdate = }}</ref>
Yarber has been credited with influencing the [[Terry Gilliam]] film ''[[Fear and Loathing in Las Vegas (film)|Fear and Loathing in Las Vegas]]'' (1998). According to cinematographer [[Nicola Pecorini]], the look of the film was influenced by Yarber's paintings that are "Very hallucinatory: the paintings use all kinds of neon colors, and the light sources don't necessarily make sense."<ref name= "Pizzello, Stephen">{{cite news | last = Pizzello | first = Stephen | title = Gonzo Filmmaking | pages = 30–41 | work = [[American Cinematographer]] | date = May 1998 }}</ref> According to Gilliam, they used him as a guide "While mixing our palette of deeply disturbing fluorescent colors."<ref name= "Pizzello2">{{cite news | last = Pizzello | first = Stephen | title = Unholy Grail | pages = 42–47 | work = [[American Cinematographer]] | date = May 1998 }}</ref>


He has been represented by the [[Sonnabend Gallery]] in New York, Marella Arte Contemporanea in [[Milan]], Modernism Inc. in San Francisco, Reflex Amsterdam, Amsterdam, Nicodim Gallery in Los Angeles, and other galleries in the United States and Europe. His most recent show Return of the Repressed opened for Los Angeles’s Nicodim Gallery in 2018. Its coverage has been featured in various art publications including Autre Magazine and Artillery Magazine. Critic Annabel Osberg of Artillery writes, “Robert Yarber‘s spellbinding nocturnal realms feel at once familiar and otherworldly, each of his paintings is far weirder than the sum of its parts, with generic characters and unplaceable urban locales coalescing into bizarre, morbid scenarios.”<ref>{{Cite web|url=https://artillerymag.com/robert-yarber/|title=Robert Yarber|date=12 September 2018}}</ref> His 2013 work Panic Pending inspired a collaboration with literary theorist Herbert Marks, who published a piece ''The Ugly Baby and the Beautiful Corpse: Robert Yarber’s Gnostic Comedy'' in that year’s ''Yearbook of Comparative Literature''.<ref>{{Cite web|url=https://www.utpjournals.press/loi/ycl|title = The Yearbook of Comparative Literature &#124; UTP Journals}}</ref>
He has been represented by the [[Sonnabend Gallery]] in New York, Marella Arte Contemporanea in [[Milan]], Modernism Inc. in San Francisco and other galleries in the United States and Europe.


Yarber is best known for a series of paintings of flying and falling figures seen above cityscapes viewed at night.<ref>{{cite news|last=Hagen|first=Charles|title=Art in Review|url=http://www.nytimes.com/1991/10/04/arts/art-in-review-126091.html|accessdate=January 24, 2011|newspaper=[[The New York Times]]|date=October 4, 1991}}</ref> The main ideas of Yarber's work revolve around "combining antiquity with modernism." Two recent shows at Sonnabend Gallery in New York have highlighted Yarber's integration of non dual [[Vedanta]] and Upper Amazonian [[Shamanism]] into his drawings and paintings. A graphic fiction is in the works based on the most recent show, "Irrational Exuberance."<ref>{{cite web|title=Irrational Exuberence|url=http://www.robertyarber.com/Irrational_Exuberence.html|work=at Robert Yarber website}}</ref>
Yarber is perhaps best known for a series of paintings of flying and falling figures seen above cityscapes viewed at night.<ref>{{cite news|last=Hagen|first=Charles|title=Art in Review|url=https://www.nytimes.com/1991/10/04/arts/art-in-review-126091.html|access-date=January 24, 2011|newspaper=[[The New York Times]]|date=October 4, 1991}}</ref> Yarber's works revolve around "combining antiquity with modernism." Two recent shows at Sonnabend Gallery in New York have highlighted Yarber's integration of non dual [[Vedanta]] and Upper Amazonian [[Shamanism]] into his drawings and paintings. A graphic fiction is in the works based on the most recent show, "Irrational Exuberance."<ref>{{cite web|title=Irrational Exuberence|url=http://www.robertyarber.com/Irrational_Exuberence.html|work=at Robert Yarber website}}</ref>


==References==
==References==
Line 37: Line 35:
* [http://www.robertyarber.com Yarber web site]
* [http://www.robertyarber.com Yarber web site]


{{Authority control}}
{{Persondata <!-- Metadata: see [[Wikipedia:Persondata]]. -->

| NAME = Yarber, Robert
| ALTERNATIVE NAMES =
| SHORT DESCRIPTION = American artist
| DATE OF BIRTH = November 18, 1948
| PLACE OF BIRTH = [[Dallas,Texas]]
| DATE OF DEATH =
| PLACE OF DEATH =
}}
{{DEFAULTSORT:Yarber, Robert}}
{{DEFAULTSORT:Yarber, Robert}}
[[Category:American artists]]
[[Category:American artists]]

Latest revision as of 10:06, 25 September 2021

Robert Yarber
Born (1948-11-18) November 18, 1948 (age 76)
Dallas,Texas
NationalityAmerican
EducationBFA Cooper Union, MFA Louisiana State University
Known forPainting
Big Fall, 1984. Oil on canvas, Whitney Museum collection

Robert Yarber (born Dallas, Texas, 1948) is an American painter and Professor of Art at Pennsylvania State University. He received a BFA from Cooper Union in 1971, and an MFA from Louisiana State University in 1973.[1]

Yarber gained international attention when his work was included in "Paradise Lost/Paradise Regained: American Visions of the New Decade", an exhibit organized by the New Museum for display in the American Pavilion at the 41st Venice Biennale in 1984.[2] At the Venice Biennale, he was one of twenty-four artists (including Roger Brown, Rev. Howard Finster, Cheryl Laemmle, Jedd Garet, April Gornik, and Eric Fischl) represented in the United States pavilion.[3] Yarber gained further prominence with his inclusion in the Whitney Biennial in 1985.[4] In 1990, Yarber, along with artists Janet Woolley, Jenny Holzer and the illustrators Lou Brooks and Marvin Mattelson, participated in an MTV advertising campaign in Rolling Stone magazine that allowed them the freedom to create an illustration without specific requirements.[5]

Yarber has been credited with influencing the Terry Gilliam film Fear and Loathing in Las Vegas (1998). According to cinematographer Nicola Pecorini, the look of the film was influenced by Yarber's paintings that are "Very hallucinatory: the paintings use all kinds of neon colors, and the light sources don't necessarily make sense."[6] According to Gilliam, they used him as a guide "While mixing our palette of deeply disturbing fluorescent colors."[7]

He has been represented by the Sonnabend Gallery in New York, Marella Arte Contemporanea in Milan, Modernism Inc. in San Francisco, Reflex Amsterdam, Amsterdam, Nicodim Gallery in Los Angeles, and other galleries in the United States and Europe. His most recent show Return of the Repressed opened for Los Angeles’s Nicodim Gallery in 2018. Its coverage has been featured in various art publications including Autre Magazine and Artillery Magazine. Critic Annabel Osberg of Artillery writes, “Robert Yarber‘s spellbinding nocturnal realms feel at once familiar and otherworldly, each of his paintings is far weirder than the sum of its parts, with generic characters and unplaceable urban locales coalescing into bizarre, morbid scenarios.”[8] His 2013 work Panic Pending inspired a collaboration with literary theorist Herbert Marks, who published a piece The Ugly Baby and the Beautiful Corpse: Robert Yarber’s Gnostic Comedy in that year’s Yearbook of Comparative Literature.[9]

Yarber is perhaps best known for a series of paintings of flying and falling figures seen above cityscapes viewed at night.[10] Yarber's works revolve around "combining antiquity with modernism." Two recent shows at Sonnabend Gallery in New York have highlighted Yarber's integration of non dual Vedanta and Upper Amazonian Shamanism into his drawings and paintings. A graphic fiction is in the works based on the most recent show, "Irrational Exuberance."[11]

References

[edit]
  1. ^ "Robert Yarber". PSU School of Visual Arts. Pennsylvania State University. Archived from the original on June 21, 2010. Retrieved January 25, 2011.
  2. ^ Ennis, Michael (February 1984). "Venetian Finds". Texas Monthly: 128–130.
  3. ^ Shamam, Sanford Sivitz (1989). Robert Yarber Paintings: 1980–1988, Palmer Museum of Art. ISBN 0-911209-39-5.
  4. ^ Wolff, Theodore F. (April 15, 1985). "The Whitney's Biennial. Eye-popping but incomplete...". The Christian Science Monitor.
  5. ^ Louie, Elaine (August 5, 1990). "Style Makers; Noel Frankel, Creative Director, Advertising Agency". The New York Times. Retrieved February 10, 2011.
  6. ^ Pizzello, Stephen (May 1998). "Gonzo Filmmaking". American Cinematographer. pp. 30–41.
  7. ^ Pizzello, Stephen (May 1998). "Unholy Grail". American Cinematographer. pp. 42–47.
  8. ^ "Robert Yarber". 12 September 2018.
  9. ^ "The Yearbook of Comparative Literature | UTP Journals".
  10. ^ Hagen, Charles (October 4, 1991). "Art in Review". The New York Times. Retrieved January 24, 2011.
  11. ^ "Irrational Exuberence". at Robert Yarber website.
[edit]
Retrieved from "https://en.wikipedia.org/enwiki/w/index.php?title=Robert_Yarber&oldid=1046375964"