Robert Longo

Cold Heaven, 1983-1984

© Robert Longo / SOCAN (2022) • Photo: Denis Farley

Robert Longo, Cold Heaven, © Robert Longo / SOCAN (2022) • Photo: Denis Farley
Artist
Robert Longo
Title
Cold Heaven
Dimensions and medium
Gold leaf on plywood and black and white framed photograph, 244 × 289.5 × 34 cm
Artwork description
Robert Longo’s Cold Heaven is a sculptural work that describes an urban drama from contemporary culture. As with his Combines series of 1982–1984, Longo works with the juxtaposition of contrasting images, techniques and materials to address the ideologies and failures of modern society. In the upper half of the piece, a low-relief made of gold-leaf covered, minimalist forms evokes rows of luxury houses viewed from above. Underneath this orderly, luminous structure, a photographic frieze made of a found black and white image from mass media depicts a city in ruins. The dark rubble creates a sharp contrast with the flamboyant, utopian vision symbolized by the low-relief. A parody of the social order, Cold Heaven carries the same critical tone that is present throughout much of Longo’s art practice.

See Also

Carton II, 2006, Polymerized gypsum, cigarettes, cigars, chewing gums, cigarrette packs,and matches, 1/2.
Liz Magor, Carton II, 2006 Carton II, 2006, Polymerized gypsum, cigarettes, cigars, chewing gums, cigarrette packs,and matches, 1/2.
In the Street (Tom), 1989, Photograph laminated on canvas, acrylic, and ink monotype on canvas.
Ian Wallace, In the Street (Tom), 1989 In the Street (Tom), 1989, Photograph laminated on canvas, acrylic, and ink monotype on canvas.
n° 178 - Registre n° 2, inscription de choses et de lieux, 1989, Acrylic on plywood.
Guy Pellerin, n° 178 - Registre n° 2, inscription de choses et de lieux, 1989 n° 178 - Registre n° 2, inscription de choses et de lieux, 1989, Acrylic on plywood.
Eclipsing the Past, Present and Future, 2008, Ink on reflective material and Shoji paper.
Ed Pien, Eclipsing the Past, Present and Future, 2008 Eclipsing the Past, Present and Future, 2008, Ink on reflective material and Shoji paper.
The Density of Notion, 1986, Iron, ashes, metal wire, and egg tempera on cardboard, 2 elements.
Pieter Laurens Mol, The Density of Notion, 1986 The Density of Notion, 1986, Iron, ashes, metal wire, and egg tempera on cardboard, 2 elements.
Violator, 2015, Wool, plastic, polymerized gypsum, cellophane, and stickers.
Liz Magor, Violator, 2015 Violator, 2015, Wool, plastic, polymerized gypsum, cellophane, and stickers.
Box #4, 1962, Collage of various materials.
Charles Gagnon, Boîte n° 4, 1962 Box #4, 1962, Collage of various materials.
Tarpaulin No. 2, 1974-1975, Gesso and crayon on tarpaulin, rope, metal wire, grommets, and steel tube.
Betty Goodwin, Tarpaulin No. 2, 1974-1975 Tarpaulin No. 2, 1974-1975, Gesso and crayon on tarpaulin, rope, metal wire, grommets, and steel tube.
Sans titre, 1982, Various materials and found objects.
Jannis Kounellis, Sans titre, 1982 Sans titre, 1982, Various materials and found objects.
Revisited Vocabulary Lesson, 1991, Oil on canvas cut and mounted on chiselled foamboard.
Larry Rivers, Revisited Vocabulary Lesson, 1991 Revisited Vocabulary Lesson, 1991, Oil on canvas cut and mounted on chiselled foamboard.
Implications of White, 1984-1985, Oil, plaster, metal, cement, and wax on wood.
Louis Comtois, Implications of White, 1984-1985 Implications of White, 1984-1985, Oil, plaster, metal, cement, and wax on wood.
Ciboulette, 1968, Light panel (neon tubes).
Jacques Hurtubise, Ciboulette, 1968 Ciboulette, 1968, Light panel (neon tubes).
<em>Contact: When Odd Gets Even</em>, 2002 of Contact: When Odd Gets Even, 2002, Seed beads, thread, and canvas.
Nadia Myre, Contact: When Odd Gets Even, 2002 Contact: When Odd Gets Even, 2002 of Contact: When Odd Gets Even, 2002, Seed beads, thread, and canvas.
Pulsation 7, c. 1967-1969, Laminated casing and metal gear wheels connected to a variable speed motor.
Roger Vilder, Pulsation 7, c. 1967-1969 Pulsation 7, c. 1967-1969, Laminated casing and metal gear wheels connected to a variable speed motor.
Alarm Clock (3295) (de la série « Thick Paintings », 1979 - 1994), 1979-1994, 3295 acrylic coats on an alarm clock.
Eric Cameron, Alarm Clock (3295) (de la série « Thick Paintings », 1979 - 1994), 1979-1994 Alarm Clock (3295) (de la série « Thick Paintings », 1979 - 1994), 1979-1994, 3295 acrylic coats on an alarm clock.
Loading...

Only a part of the collection is currently online and the artworks on display at the MAC are accompanied by the icon

The contents presented in this section are not exhaustive and may be subject to revision. If you have comments to share, or errors to report, please contact us at [email protected].

For information about copyright and intellectual property, or for a reproduction request, see our Terms of Use.