COLLECTION NAME:
University Art Galleries (UMassD)
mediaCollectionId
UMASSDVRCVRC~43~43
University Art Galleries (UMassD)
Collection
true
exhibition_title:
Alan E. Cober A Retrospective Afterlife
exhibition_title
Alan E. Cober A Retrospective Afterlife
exhibition_title
false
exhibition_dates:
September 13 - October 17, 2001
exhibition_dates
September 13 - October 17, 2001
exhibition_dates
false
exhibition_year:
2001
exhibition_year
2001
exhibition_year
false
exhibition_location:
University Art Gallery (UMass Dartmouth Galleries)
exhibition_location
University Art Gallery (UMass Dartmouth Galleries)
exhibition_location
false
exhibition_curator:
Organized by Kevin Dean
exhibition_curator
Organized by Kevin Dean
exhibition_curator
false
exhibition_curator:
Selby Gallery Ringling School of Art and Design
exhibition_curator
Selby Gallery Ringling School of Art and Design
exhibition_curator
false
exhibition_note:
One of America's most innovative illustrators, the late UB faculty member Alan E. Cober's gripping images provide glimpses of the often harsh reality of contemporary events. This exhibit includes more than 100 works, representing both his work as an illustrator and as a fine artist. Cober's visual commentary was seen in such publications as Rolling Stone, Time, The New York Times, Esquire, Newsweek, Life and Look. Like most of the drawings, engravings and sculptures in "Alan E. Cober: A Retrospective Afterlife," these darkly humorous hallucinogenic visions can only be described as, well, Kafkaesque. And like Kafka, Cober returns throughout his career to familiar motifs and themes, incorporating into his art all manner of skulls, limbs, menacing machines, pig snouts and medieval demons. His fascination with mental and physical decay, compassion for social issues, and penchant for biological permutations form the thread that runs throughout his prolific career, including time spent in Buffalo.
exhibition_note_
One of America's most innovative illustrators, the late UB faculty member Alan E. Cober's gripping images provide glimpses of the often harsh reality of contemporary events. This exhibit includes more than 100 works, representing both his work as an illustrator and as a fine artist. Cober's visual commentary was seen in such publications as Rolling Stone, Time, The New York Times, Esquire, Newsweek, Life and Look. Like most of the drawings, engravings and sculptures in "Alan E. Cober: A Retrospective Afterlife," these darkly humorous hallucinogenic visions can only be described as, well, Kafkaesque. And like Kafka, Cober returns throughout his career to familiar motifs and themes, incorporating into his art all manner of skulls, limbs, menacing machines, pig snouts and medieval demons. His fascination with mental and physical decay, compassion for social issues, and penchant for biological permutations form the thread that runs throughout his prolific career, including time spent in Buffalo.
exhibition_note
false
exhibition_genre:
illustration
exhibition_genre
illustration
exhibition_genre
false
exhibition URL:
exhibition_url
http://www.adams-studio.com/A%20sense%20of%20darkness%20and%20drama%20in%20cober%27s%20art.htm
exhibition URL
false
exhibition URL:
exhibition_url
http://www.ubartgalleries.org/?gallery=art&select=event&eventID=100
exhibition URL
false
resourceID:
13009_001
resource_id
13009_001
resourceID
false
resource_type:
ephemera - invitation
resource_type
ephemera - invitation
resource_type
false
copyright notice:
COPYRIGHT NOTIFICATION: Under the direction of the Visual Resource Center digital collections are made available to the UMass Dartmouth campus community for the sole purpose of classroom instruction and study in accordance U.S. Copyright Laws . All other uses are prohibited and are subject to copyright infringements.
copyright_notice
COPYRIGHT NOTIFICATION: Under the direction of the Visual Resource Center digital collections are made available to the UMass Dartmouth campus community for the sole purpose of classroom instruction and study in accordance U.S. Copyright Laws . All other uses are prohibited and are subject to copyright infringements.
copyright notice
false
credit line:
UMass Dartmouth Art Galleries
credit_line
UMass Dartmouth Art Galleries
credit line
false
artist name:
Alan E. Cober
artist_name
Alan E. Cober
artist name
false
artist_nationality:
American
artist_nationality
American
artist_nationality
false
artist_vital dates:
May 18, 1935 - January 17, 1998
artist_vital_dates
May 18, 1935 - January 17, 1998
artist_vital dates
false
artist_biographical note:
Alan Cober frequently is cited as one of the most innovative illustrators America has produced. He was among a small cadre of post-World War II illustrators who inserted concepts drawn from modern art into an art form that was then dominated by sentimental realism. Cober's work went beyond illustration to include an often shocking visual journalismpithy pen and ink drawings that critiqued social injustice, like the Times illustrations of school children in Boston who still were segregated, despite laws to the contrary, and a wizened old man held as prey in a nursing home. His work appeared regularly for decades in top American publications, including Time, Newsweek, Atlantic Monthly, Rolling Stone, Esquire, Life, Look, The New York Times. It was commissioned as well by NBC, CBS and a number of Fortune 500 companies. He worked on adventure and mystery computer games and illustrated more than 23 books, including "The Tiger's Bones and Other Plays for Children" by the late Ted Hughes, poet laureate of England. His own book, "The Forgotten Society," shocked the public with its graphic depiction of the lives and often miserable conditions of people incarcerated in retirement homes, prisons and mental institutions like the New York State psychiatric facility at Willowbrook. In a later publication, "The Wake-up Call," he addressed other issues plaguing contemporary Americadrug addiction, AIDS, toxic chemicals and hazardous wastes. Cober was an influential and beloved illustration teacher. He was a professor of art and distinguished visiting artist at the University of Buffalo, State University of New York. He also held the Lamar Dodd Professorial Chair at the University of Georgia, and, at the time of his death, was teaching at the Ringling School of Art in Sarasota, Florida, where the Ringling Brothers circus, which he loved to draw, retired for the winter. His work is held in the collections of the Library of Congress, the Smithsonian Institution, and the New Britain Museum. During his last two years he was exploring the medium of clay as an extension of his drawing.
artist_biographical_note
Alan Cober frequently is cited as one of the most innovative illustrators America has produced. He was among a small cadre of post-World War II illustrators who inserted concepts drawn from modern art into an art form that was then dominated by sentimental realism. Cober's work went beyond illustration to include an often shocking visual journalismpithy pen and ink drawings that critiqued social injustice, like the Times illustrations of school children in Boston who still were segregated, despite laws to the contrary, and a wizened old man held as prey in a nursing home. His work appeared regularly for decades in top American publications, including Time, Newsweek, Atlantic Monthly, Rolling Stone, Esquire, Life, Look, The New York Times. It was commissioned as well by NBC, CBS and a number of Fortune 500 companies. He worked on adventure and mystery computer games and illustrated more than 23 books, including "The Tiger's Bones and Other Plays for Children" by the late Ted Hughes, poet laureate of England. His own book, "The Forgotten Society," shocked the public with its graphic depiction of the lives and often miserable conditions of people incarcerated in retirement homes, prisons and mental institutions like the New York State psychiatric facility at Willowbrook. In a later publication, "The Wake-up Call," he addressed other issues plaguing contemporary Americadrug addiction, AIDS, toxic chemicals and hazardous wastes. Cober was an influential and beloved illustration teacher. He was a professor of art and distinguished visiting artist at the University of Buffalo, State University of New York. He also held the Lamar Dodd Professorial Chair at the University of Georgia, and, at the time of his death, was teaching at the Ringling School of Art in Sarasota, Florida, where the Ringling Brothers circus, which he loved to draw, retired for the winter. His work is held in the collections of the Library of Congress, the Smithsonian Institution, and the New Britain Museum. During his last two years he was exploring the medium of clay as an extension of his drawing.
artist_biographical note
false
artist_reference:
artist_reference
http://www.buffalo.edu/ubreporter/archive/vol33/vol33n16/n8.html
artist_reference
false
artist_reference:
artist_reference
http://www.societyillustrators.org/Awards-and-Competitions/Hall-of-Fame/Past-Inductees/2011--Alan-E--Cober.aspx
artist_reference
false
work_title:
A Retrospective Afterlife
work_title
A Retrospective Afterlife
work_title
false
work_technique:
illustration
work_technique
illustration
work_technique
false
work_date:
2001
work_date
2001
work_date
false
date_of_ record:
10/08/13
date_of__record
10/08/13
date_of_ record
false
name_cataloger:
jtrinh
name_cataloger
jtrinh
name_cataloger
false