After the 2003 Art Basel Miami Beach show A Tribute to Robert Rauschenberg and the 2005 Art Kabinett presentation Robert Rauschenberg: Spread and Scales, the Jamileh Weber Gallery is 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 all so called "Keepers", works that the artist kept for his own collection, most of them hidden for almost 20 years an rarely exhibited. The exceptional selection has been made possible in close collaboration with the artist and it is a great honor and pleasure that Robert Rauschenberg will join us for the opening of his show, Wednesday, December 5, 2007 in our booth F14 at the Miami Beach Convention Center. 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. For further information or photographs please contact the gallery, phone: +41-44-252 10 66, fax: +41-44-252 11 32 email: info@jamilehweber.com, www.jamilehweber.com