Robert Rauschenberg Night Shades and Phantoms Robert Rauschenberg Night Shades and Phantoms
Robert Rauschenberg: Night Shades and Phantoms, Thaddaeus Ropac Paris Marais, 2020
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Overview

'The surfaces swirl reflectively, their silvery, dreamy quality like so much brushy subconscious spillage. This is painting weather, Rauschenberg weather—instinctive, open, and pretty free.' – David Salle, 2020

Our Paris Marais gallery presents an exhibition of Robert Rauschenberg’s Night Shades and Phantoms from 1991, two series of metal paintings composed of silk-screened photographic images and gestural strokes on aluminium supports. Made during his decade-long experimentations with metal, these paintings are characterised by their grayscale palette, which ranges from the Night Shades’ painterly chiaroscuro to the Phantoms’ mirrored surfaces and ethereal translucency.

Rauschenberg creates dream-like imagery which appears and disappears as a result of light, shadows and reflections across the artworks’ surfaces. The works respond to their surroundings, playing with the viewer’s perception and bringing the world into the paintings, recalling Rauschenberg’s famous maxim: ‘Painting relates to both art and life. Neither can be made. (I try to act in the gap between the two.)’. Organised in collaboration with the Robert Rauschenberg Foundation, the exhibition will also present a selection of photographs by the artist used as source images for the paintings on view.

Our Paris Marais gallery presents an exhibition of Robert Rauschenberg’s Night Shades and Phantoms from 1991, two series of metal paintings composed of silk-screened photographic images and gestural strokes on aluminium supports. Made during his decade-long experimentations with metal, these paintings are characterised by their grayscale palette, which ranges from the Night Shades’ painterly chiaroscuro to the Phantoms’ mirrored surfaces and ethereal translucency.

Rauschenberg creates dream-like imagery which appears and disappears as a result of light, shadows and reflections across the artworks’ surfaces. The works respond to their surroundings, playing with the viewer’s perception and bringing the world into the paintings, recalling Rauschenberg’s famous maxim: ‘Painting relates to both art and life. Neither can be made. (I try to act in the gap between the two.)’. Organised in collaboration with the Robert Rauschenberg Foundation, the exhibition will also present a selection of photographs by the artist used as source images for the paintings on view.

The exhibition is accompanied by a fully illustrated catalogue with an essay by artist David Salle and author Sarah French.

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