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罗伯特 劳森伯格

Art Basel

Robert Rauschenberg Untitled, 1984. acrylic on fabric laminated paper stretched over linen, 64" x 60" (162.6 cm x 152.4 cm) © Robert Rauschenberg/ Licensed by VAGA, New York, NY.

Robert Rauschenberg Untitled, 1984. acrylic on fabric laminated paper stretched over linen, 64" x 60" (162.6 cm x 152.4 cm) © Robert Rauschenberg/ Licensed by VAGA, New York, NY.

Robert Rauschenberg Chaperone II, 1990. acrylic and pencil on fabric laminated paper, 64" x 43" (162.6 cm x 109.2 cm) © Robert Rauschenberg/ Licensed by VAGA, New York, NY.

Robert Rauschenberg Chaperone II, 1990. acrylic and pencil on fabric laminated paper, 64" x 43" (162.6 cm x 109.2 cm) © Robert Rauschenberg/ Licensed by VAGA, New York, NY.

Installation View.

Installation View.

Installation View.

Installation View.

Robert Rauschenberg Porcelain (Salvage), 1984. acrylic on canvas, 34" x 89-1/2" (86.4 cm x 227.3 cm) © Robert Rauschenberg/ Licensed by VAGA, New York, NY.

Robert Rauschenberg Porcelain (Salvage), 1984. acrylic on canvas, 34" x 89-1/2" (86.4 cm x 227.3 cm) © Robert Rauschenberg/ Licensed by VAGA, New York, NY.

Installation View.

Installation View.

Installation View.

Installation View.

Installation View.

Installation View.

About 罗伯特 劳森伯格

羅伯特·勞森伯格(生於1925年,德克薩斯州;卒於2008年,佛羅里達州)於1943年短暫進入德克薩斯大學奧斯汀分校學習,並於第二次世界大戰期間加入美國海軍。1945年夏天光榮退伍後,勞森伯格前往堪薩斯城藝術學院就讀(1947年),隨後於巴黎的朱利安學院學習(1948年),之後又於北卡羅來納州的黑山學院師從約瑟夫·阿爾伯斯。 勞森伯格因其「合成」雕塑而獲得好評,這些作品融合了繪畫與各種日常物品。 不同媒介的並置及其相互作用構成了勞森伯格的主要探究方向,在他的整個職業生涯中,他的作品以一種實驗的感知感為標誌。

Press Release

  • Pace at Art Basel 2015

    New York—Pace is pleased to announce its participation in Art Basel with a presentation of rarely seen works from the 1980s and early 1990s by Robert Rauschenberg. The fair also includes a site-conditioned installation by Robert Irwin in Art Unlimited and an outdoor presentation by Vik Muniz as part of Art Parcours.

    The works presented at Basel distill the core formal and social concerns that occupied Rauschenberg’s life and practice from the 1950s until his death in 2008. In these works, Rauschenberg silkscreens photographs to canvas or paper, in some cases affixing the latter to the former. Evincing his disregard for conventions of medium, the works collapse painting, photography and collage, echoing his landmark use of screen printing in the 1960s and signifying the renewed importance that his own photographs took in his work from 1980 onwards.

    Among the works are three selections from his Salvage series, which developed from his set and costume design for a 1983 production by his frequent collaborator Trisha Brown. Images that appear across this group of works draw from his experience in the Rauschenberg Overseas Culture Interchange (1984–91), which testifies to his lifelong belief in the social power of art.

    This presentation in Basel follows the recent announcement of the Robert Rauschenberg Foundation joining Pace, Luisa Strina and Thaddeus Ropac, which will also be presenting work by the artist at the fair.

    In the fall Pace will present an exhibition of late works by the artist, many of which were first shown at the gallery during Rauschenberg’s life. The exhibition will be Pace’s ninth solo presentation of his work since 1996 and coincides with the artist’s ninetieth birthday. In 2016 a retrospective of his work organized by The Museum of Modern Art, New York, and the Tate Modern, London, will open and later travel to the San Francisco Museum of Modern Art, which hosted the Rauschenberg Research Project

    Art Unlimited Robert Irwin’s Black3, 2008, will be exhibited in the Unlimited section of the fair, which is curated by Gianni Jetzer. In the site-conditioned installation, viewers navigate a sequence of framed scrims, each with a translucent black square in its center. Specified lighting conditions between the panels heighten viewer’s depth-of-field perception, attuning them to phenomenological conditions of light and space.

    The installation in Basel relates to Irwin’s Excursus: Homage to the Square3, which will be on view at Dia Center for the Arts, Beacon, New York, from June 1, 2015, through May 2017. Irwin is also designing a new permanent installation for the Chinati Foundation in Marfa, Texas, which is scheduled to open in 2016—the same year the Hirshhorn Museum and Sculpture Garden, Washington, opens a survey of his work from the 1950s through the 1970s.

    Art Parcours For the Art Parcours section of the fair curated by Florence Derieux, Vik Muniz will exhibit a life-size model of a matchbox sports car. Muniz fabricates enlarged versions of used matchbox cars he has found online or in thrift stores that resemble ones he played with as a child. By maintaining signs of use and wear inherent to the toy in the new version, Muniz raises questions of scale and translation as well as what it means to play with toys—both as an adult and as a child. Muniz’s work will be exhibited in the historic cobble stone streets of Martinskirchplatz outside the St. Martin Church.

    Concurrently at the Venice Biennale, Muniz has created what appears to be a handcrafted paper boat. Made of wood and coated in newspaper stories about recent shipwrecks of boats transporting immigrants through the Mediterranean, the boat is named Lampedusa for the southern Italian island where many of these boats land. The work calls attention to the increasing frequency of these humanitarian crises, and will be appear in various locations in the city’s waterways during the Biennale.

News

佩斯画廊很荣幸宣布将正式在纽约丶伦敦丶北京以及香港代表罗伯特·劳森博格基金会。今秋, 佩斯画廊将展出自1996年以来第九次劳森博格的个展。   点选 此处 阅读更多纽约时报的报导。 点选 此处 阅读有關罗伯特·劳森博格基金会的資訊。   点选 此处 於藝術家專頁重溫罗伯特·劳森博格基金会在佩斯。