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Lamp And Phone by Robert Rauschenberg

Lamp And Phone by Robert Rauschenberg


Chromogenic (C-print)


Edition Size: 30

Sheet Size: 24 x 30 inches


Condition: Pristine

Details — Click to read

10 C-print color photographs
From Suite of Studies for Chinese Summerhall (small)

No longer available indivually

From his earliest days as an artist, when he stated he wanted to “photograph the country inch by inch,” Rauschenberg used photography to record, compose, confront and reflect the tumult of life around him. In his hands, photography is a tool for seeing the world and evolving his vision. Studies for Chinese Summerhall form a series of twenty-eight photographs taken by Rauschenberg in China and published as individual C-print color photographs by Graphicstudio. Rauschenberg travelled to China in 1982, and while there, made hundreds of photographs. The photographs approach the everyday life of China, with its elements of tradition, aesthetics, politics, history and religion. Rauschenberg photographed store windows, street scenes, wall paintings, monuments and markets. Each image witnesses his remarkable eye and his generous vision of life. The connoisseur of Rauschenberg’s work will enjoy the continuity of form and invention through this medium. Upon his return to the United States, the artist, in collaboration with Graphicstudio, collaged fifty-two of the images into the 100-foot-long photograph Chinese Summerhall. Before the negatives were trimmed and collaged into this photograph, Rauschenberg decided to make editions of a number of individual photographs. Studies for Chinese Summerhall form two series: one series of eighteen, size 30 x 40 inches; and a second series of ten, size 24 x 30 inches.

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The Artist

Robert Rauschenberg

Robert Rauschenberg, an American born in 1925, started producing painterly prints in the early 1960s that contained pictures he cut out of magazines and newspapers. Nearly ten years prior, he had created pieces he dubbed “Combines,” which are fusions of painting and sculpture that embrace the noise of daily life and contrast the solitary canvases of abstract expressionism. The ordinary was also introduced in Rauschenberg’s prints in a variety of ways, such as the water ring left by a drinking glass, the embossment from a coin, or the traced contour of a cane. By reintroducing representation into the avant-garde, the artist revived a vibrant visual language. “What he invented above all was…a graphic surface that let the world in again,” wrote art historian Leo Steinberg.

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