new-york

Robert Yarber

Sonnabend Gallery

Robert Yarber’s lurid nightscapes treat all the obvious aspects of postindustrial anomie. Mismatched couples quarrel in swank restaurants or lie catatonic in the room-with-a-view luxury of resort hotels. Lonely people drift about in quest of romance, only to wind up bewildered beside motel pools or gaudy strips where neon signs advertise life’s most hollow pleasures. In Rex, 1990, and Expenditure of Excess, 1989, faceless, Hopperesque organization men seek distraction in oppressively overlit casinos.

Recently Yarber’s subject matter has moved up a social notch. Roadside motels and tacky eateries have given way to coastal resorts reminiscent of Rio de Janeiro or the more congested stretches of the Côte d’Azur, but the artist’s technicolor palette and camp sensibility, as well as the alternately frenzied and lethargic emotional tenor, have remained constant. The sun, it seems, is always

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