Beginning in 1969, Robert Overby (1935–1993) produced an eclectic body of work that was rarely exhibited in his lifetime. Despite a diversity of mediums and an equally wide range of subject matter, Overby returned consistently to the human form. His polyurethane stretches and ghost-like latex casts of walls and doors belong to the history of late 1960s and early 1970s experiments in Anti-Form, Process art, and post-Minimalism. His 1980s image paintings are post-Pop combinations of figure and abstraction that explore similar issues of surface, decay, and the skin between the real and its incorporeal other.
Robert Overby had a retrospective at the UCLA Hammer Museum, and his work has been collected by the Art Institute of Chicago; Whitney Museum of American Art; Museum of Contemporary Art, LA; San Francisco Museum of Modern Art; Los Angeles County Museum; and The Museum of Modern Art, NY.
This book is a reprint of his first publication, “336 to 1 August 1973–July 1969,” which he conceived, edited, and designed himself. Published with the Estate of Robert Overby.