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Robert Rauschenberg 'Gluts' and Darryl Pottorf 'Paintings'    Apr 19 - Jun 28, 2008


Robert Rauschenberg Gluts

April 19 – June 28, 2008

Opening reception: Friday, April 18, 2008, 6-8 pm

The Jamileh Weber gallery is honored and proud to present this year an extraordinary and poetic selection of works from Rauschenberg’s late eighties “Glut” series. All works in this show are so called „Keepers“, works that the artist kept for his own collection, most of them hidden for almost 20 years and rarely exhibited.
The exceptional selection has been made possible in close collaboration with the artist.

Mrs. Jamileh Weber has a very special and personal relation with the “Gluts”: It is back in 1987 when she met Mr. Rauschenberg for the first time personally and convinced him with her enthusiasm to do a show in Zurich. It was the beginning of an ongoing close friendship. At the time Robert Rauschenberg just started to work with various series using just metal. Besides his screenprinted photographic images on sheets of aluminum or stainless steel (Urban Bourbon, Shiners) he soon experimented on sculptural works just using found objects.

“Rauschenberg began the Glut series after visiting Houston on the occasion of the show Robert Rauschenberg, Work from four Series, an exhibition at the Contemporary Arts Museum in honor of the sesquicentennial of Texas’s independence. At the time the state was in the throes of a recession due to a glut in the oil market. Rauschenberg took note of the devastation of the region as he collected gas-station signs and deteriorated automotive and industrial parts littering the landscape. Upon his return to the Captiva studio he transformed the scrap-metal detritus into wall reliefs and freestanding sculptures. In many of the gluts, including Snow Crab Crystal Glut, it is difficult to discern what the original object or objects might have been. In Carnival Glut, however, the metamorphosis from junkyard relict to poetic art object resulted in a work that is less abstract; the decrepit object retain something of their original identity, though the significance of the assemblage as a whole is not made explicit.” (Elizabeth Carpenter, 1997 Guggenheim catalog)

As he did in Houston he visited in Zurich scrap yards, collected what he found most intriguing and transformed the scrap on site into the Zurich Gluts. The exhibition fetched a lot of controversial attention in upright Zurich: The Feuilleton was inspired, the Boulevard scandalized.

The show will remain on view through Thursday, June 28, 2008 at the Jamileh Weber Gallery, Waldmannstrasse 6, CH-8001 Zurich. Hours: Tuesday through Friday, 11am to 6pm, Saturday 10am to 4pm and by appointment.

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Darryl Pottorf Paintings

April 19 – June 28, 2008

Opening reception: Friday, April 18, 2008, 6-8 pm

Darryl Pottorf has created complex, visually provocative work for over 30 years, enmeshing historical, iconic, architectural, and cultural imagery into beautiful and sometimes unsettling compositions that intrigue the viewer, and often contains subtle and surprising combinations missed at first glance. The exhibition at Galerie Jamileh Weber is comprised of over 20 works ranging from 2004 to the present including works created for his most recent museum exhibition at the Institute Valencia d’art Modern in Valencia, Spain.

Pottorf uses photo transfer techniques to create a photographic palette from his travels around the world. The works are created by overlays of the images with bold brush strokes and delicate lines drawn in graphite and sometimes by attaching objects breaking the flat surface into a three dimensional construction. The paintings offer the delicacy of a watercolor and the depth of oil on canvas with the dimensional relief of a sculpture.

Curator Barbara Rose states: “Pottorf has never given up drawing although he separates it from painting so that his concept of representation does not depend on depiction. He draws in charcoal on top of the imagery creating an animated lively surface with rhythmic patterns as well as a more complicated space than that of uninflected flatness suggested by photography. As specific as the photographed images are, the drawing element in his paintings now has an autonomous life of its own. “

Born in Cincinnati, Ohio, Pottorf worked with his father in the building industry, where he learned his love of architecture and craftsmanship. As a young man he studied art and art history in Florence, Italy at the Florida State University, Florence campus, working with Dr. Fred Licht as a research assistant on Licht’s book on Goya and the origins of modernism, Goya and the Modern Temperament. During this period, Pottorf developed a deep love and respect for the significance of the past and it’s influence and clash with modern culture.

Pottorf’s experiences while living in Florence and his later travels through Europe working with Robert Rauschenberg on the Rauschenberg Culture Interchange incorporate a world view that incorporates a historical record by combining classical and modern urban scenes of everyday life; Pottorf’s paintings have been described as an “archeological dig.” The show will remain on view through Thursday, June 28, 2008 at the Jamileh Weber Gallery, Waldmannstrasse 6, CH-8001 Zurich. Hours: Tuesday through Friday, 11am to 6pm, Saturday 10am to 4pm and by appointment.

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