Beginning in 1969, Robert Overby (1935–1993) produced an eclectic body of work that was rarely exhibited in his lifetime. Despite a diversity of media 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’s first solo exhibition was held posthumously in New York in 1996. Since then he has been the subject of 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.