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Susan Davidson and David White, eds., Rauschenberg (Ferrara, Italy: Ferrara Arte, 2004), 30, 31, 45n15, 66 (ill.), 67–68, 80, 95. 4 (April 1973): 57, 58. Donald Finkel, A Joyful Noise: Poems by Donald Finkel (New York: Atheneum, 1966), 62–69. Carlos Basualdo and Erica F. Battle, eds., Dancing around the Bride: Cage, Cunningham, Johns, Rauschenberg, and Duchamp (Philadelphia: Philadelphia Museum of Art, 2012), 119, 215, 313, 336, 386 (ill.). Territorium Artis, Kunst- und Ausstellungshalle der Bundesrepublik Deutschland, Bonn, Germany, June 19–September 20, 1992. Florence Berkman, “Pop Art on Exhibition Free, Far Out,” Hartford Times, January 11, 1964. In addition to appearing in the special exhibition listed above, Erased de Kooning Drawing was shown in SFMOMA’s galleries in 1999, 2000, 2004, 2005, 2006, 2008, and 2016 as part of a series of rotating presentations of the permanent collection. 3 (November 1997): 47, 48. Bernice Rose, Robert Rauschenberg (Paris: Réunion des Musées Nationaux; Paris: Fondation Dina Vierny-Musée Maillol, 2002), 18. Lynn Barber, “Robert Rauschenberg,” Observer Life Magazine (London), October 26, 1997, 12 (ill.). Traveled to: San Francisco Museum of Art, January 31–March 23, 1975; Wadsworth Atheneum, Hartford, Connecticut, April 23–June 1, 1975. Charles Shere, “The Ripening of Robert Rauschenberg—A Retrospective,” Oakland Tribune, July 3, 1977. Alan Solomon, New York: The New Art Scene (New York: Holt, Rinehart and Winston, 1967), 42. Neal Benezra and Olga M. Viso, Regarding Beauty: A View of the Late Twentieth Century (Washington, D.C.: Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, 1999), 28–29, 31 (ill.). Damage Control: Art and Destruction Since 1950, Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, D.C., October 24, 2013–May 26, 2014. Calvin Tomkins, Off the Wall: Robert Rauschenberg and the Art World of Our Time (Garden City, NY: Doubleday, 1980), 96–97, 299. Stuart Morgan, “About Art about Art,” Arts Magazine 53, no. Rauschenberg requested his colleague Jasper Johns t… Robert Rauschenberg: Man at Work, directed by Chris Granlund (London: BBC and RM ARTS, 1997), DVD, 57 min. Mark Stevens and Annalyn Swan, eds., de Kooning: An American Master (New York: Alfred A. Knopf, 2004), 359–60, 455. “Most Happy Fella,” Time, September 18, 1964, 84. Erased de Kooningis regarded as a Neo-Dadaist conceptual artwork, with close resemblance and affinities to Added Art, with material removed from the initial piece rather than added. Barbara Buhler Lynes and Jonathan Weinberg, eds., Shared Intelligence: American Painting and the Photograph (Berkeley: University of California Press, 2011), 172. Janet Tyson, “Robert Rauschenberg reste saisi,” Le journal des arts, March 13, 1998. Stiles (Durham, NC: Nasher Museum of Art, 2014), online edition. Nicolas Calas, Art in the Age of Risk, and Other Essays (New York: E. P. Dutton, 1968), 182. Infrared scan and processing by Robin D. Myers, 2010. Christine Temin, “‘Art’ and Art—Thoughts on White Matter and Its Value,” Boston Globe, March 8, 2000. Robert Rauschenberg, San Francisco Museum of Modern Art, May 7–September 7, 1999. I know. 4 (October 2006), 329, 339, 340. Robert Krulwich, “Two Ways To Think about Nothing,” Krulwich Wonders (National Public Radio blog), March 13, 2012. Jennifer Mundy, Gallery of Lost Art, Tate online exhibition, July 12, 2012. Christos M. Joachimides and Norman Rosenthal, eds., American Art in the 20th Century: Paintings and Sculpture, 1913–1993 (Munich: Prestel Verlag, 1993), 117 (ill.). Walter Blum, “A One-Man Mainstream,” San Francisco Examiner and Chronicle, June 19, 1977. Erased de Kooning Drawing - Robert Rauschenberg, 1953 From A Genteel Iconoclasm: Vincent Katz on Robert Rauschenberg The genesis of the project is well-documented: Rauschenberg went over to the master’s studio and said he’d like to erase one of his drawings as an act of art. Discussion of Erased de Kooning begins at 11:14 min. Irith Hadar, Under Erasure (תחת מחיקה) (Tel Aviv: Tel Aviv Museum of Art, 2014), 12 (ill.), 13–14, 127–28. Traveled to: Fundación Caja de Pensiones, Madrid (as Arte conceptual, una perspectiva), March 12–April 29, 1990. The sight of this approximation of de Kooning’s drawing ultimately does not transform our understanding of Rauschenberg’s finished artwork. Robert Rauschenberg was fascinated by Willem de Kooning, and in 1953 asked the artist if he could erase one of his drawings as an act of art. 1 (September 2008): 427, 428, 429 (ill.). Lucy R. Lippard, Pop Art (New York: Frederick A. Praeger, 1966), 23. Lucy R. Lippard, Tony Smith (New York: Harry N. Abrams, 1972), 24. In a famously cited incident of 1953, Rauschenberg requested a drawing from the Abstract Expressionist painter Willem de Kooning for the express purpose of erasing it as an artistic statement. Apr 25, 2016 - Explore Levering's board "drawing" on Pinterest. And read its full exhibition and publication history: it’s clear that this unassuming object is much in demand. John Russell and Suzi Gablik, Pop Art Redefined (London: Thames and Hudson, 1969), 11 (ill.). Identità e alterità: figure del corpo 1895–1995, 47th Biennale di Venezia, Palazzo Grassi, Venice, Italy, June 11–October 15, 1995. Branden W. Joseph, ed., Robert Rauschenberg (Cambridge, MA: MIT Press, 2002), 29, 127n17. 1070 (May 1992): 336. 110 (Winter 2009/2010): 44, 47 (ill.). How Robert Rauschenberg erased a Willem de Kooning and created a landmark of postmodernism. Rosalie/Red Cheek/Temporary Letter/Stock (Cardboard), © 2021 San Francisco Museum of Modern Art, remaining traces of the original de Kooning drawing, https://www.texasmonthly.com/story/rauschenberg%E2%80%99s-repartee, https://digitalcommons.unl.edu/sheldonpubs/75, https://www.artnet.com/Magazine/reviews/finch/finch12-8-00.asp#6, https://www.artnet.com/magazineus/features/saltz/saltz1-11-06.asp#, https://www.spiegel.de/kultur/gesellschaft/zum-tode-robert-rauschenbergs-alles-ist-kunst-kunst-ist-alles-a-553127-druck.html, https://bancroft.berkeley.edu/ROHO/projects/sfmoma/interviews.html, https://blog.sfmoma.org/2011/02/collection-rotation26/, https://greg.org/archive/2011/05/30/frame_is_part_of_drawing.html, https://6thfloor.blogs.nytimes.com/2012/02/28/erasing-americans/, https://www.npr.org/blogs/krulwich/2012/03/12/148456099/two-ways-to-think-about-nothing, https://jezebel.com/5914333/burning-a-birkin-is-not-art, https://shuffle.rauschenbergfoundation.org/exhibitions/nasher/essays/Hardiman_monochromes-and-mandalas/, https://shuffle.rauschenbergfoundation.org/exhibitions/nasher/essays/Hart_i-am-if-i-say-so, https://shuffle.rauschenbergfoundation.org/exhibitions/nasher/essays/Stiles_introduction, https://post.at.moma.org/content_items/478-lost-in-translation-twenty-questions-to-bob-rauschenberg, https://interventionsjournal.net/2015/01/23/a-radical-disregard-for-the-preservation-of-art-robert-rauschenbergs-elemental-paintings/, https://www.bbc.com/news/entertainment-arts-33533960. Peinture: Emblèmes et références (Bordeaux: CAPC Musée d’Art Contemporain de Bordeaux, 1993), 14–15, 139. Bruno Marchand, ed., Robert Rauschenberg: Crítica e obra de 1949 a 1974 (Porto, Portugal: Fundação de Serralves, 2008), 22 (ill.), 152. Jeffrey Kastner, “Houston: Sins of Commission?,” ARTnews 97, no. With Erased de Kooning Drawing (1953), Rauschenberg set out to discover whether an artwork could be produced entirely through erasure—an act focused on the removal of marks rather than their accumulation. 2 (Spring 1977): 1. The … Ana Pato, Literatura Expandida: Arquivo e Citação na Obra de Dominique Gonzalez-Foerster (São Paulo: Ediçeõs SES, 2013), 90 (ill.), 91, 92, 122. When the department store was new: Elizabeth Sparhawk-Jones, 291—Little Galleries of the Photo Secession, Joseph Stella, The Voice of the City of New York Interpreted. Robert Rauschenberg with Willem de Kooning and Jasper Johns. Kerry Brougher, Russell Ferguson, and Dario Gamboni, Damage Control: Art and Destruction Since 1950 (Washington, D.C.: Hirshhorn Museum and Sculpture Garden, 2014), 110 (ill.), 111, 113, 172, 186, 190. The female figure at lower left is likely related to the Woman series, with which de Kooning was deeply involved from 1950 to 1955. A simple composition comprising a single sheet of smudged paper, a thin gold frame with a plain window mat, and a machine-precise inscription, Robert Rauschenberg’s Erased de Kooning Drawing blankly addresses the viewer. Erased de Kooning Drawing is an early work of US artist Robert Rauschenberg: an almost blank piece of paper in a simple gilded frame.The work was created in 1953 by Rauschenberg erasing a drawing he obtained from Dutch artist Willem de Kooning.Rauschenberg asked his friend Jasper Johns to add a written caption to the frame, which reads: "Erased de Kooning Drawing, Robert Rauschenberg, 1953”. Unpublished transcript, SFMOMA Research Library and Archives, N 6537 .R27 A35 1999a, 2, 20–24, 38. Donna Tennant, “Houston: Robert Rauschenberg—Contemporary Arts Museum,” ARTnews 85, no. Sylvia Tan, “Tracks of Time,” San Francisco Bay Guardian, August 25, 1999. Robert Rauschenberg (New York: Gagosian Gallery, 2010), 9, 220. Enid Tsui, “From Beijing via Hong Kong to London, it’s the year of Robert Rauschenberg,” South China Morning Post, May 15, 2016. Accessed April 2, 2015. https://interventionsjournal.net/2015/01/23/a-radical-disregard-for-the-preservation-of-art-robert-rauschenbergs-elemental-paintings/. 75 Years of Looking Forward: The Anniversary Show, San Francisco Museum of Modern Art, December 19, 2009–January 16, 2011 (on view through June 29, 2010). Max Kozloff, “The Impact of de Kooning,” Arts Yearbook 7 (1964): 77, 79–80, 83. After Rauschenberg completed the laborious erasure, he and fellow artist Jasper Johns (b. Distributed by New Video in 2010. Leo Steinberg, Encounters with Rauschenberg (Houston: Menil Foundation, 2000), vi, 16, 17 (ill.), 18–23, 38, 72n10. Traveled to: Fundació Joan Miró, Barcelona, March 28–May 19, 1985. Seiji Oshima, Marjorie Welish, Takeshi Yoshizumi, et al., The Second Hiroshima Art Prize: Robert Rauschenberg (Hiroshima: Hiroshima City Museum of Contemporary Art, 1993), 38, 42. Anna Brzyski, ed., Partisan Canons (Durham, NC: Duke University Press, 2007), 309, 310 (ill.), 311. John Elderfield, de Kooning: A Retrospective (New York: Museum of Modern Art, 2011), 244, 278, 299n74. Marjorie Welish, Signifying Art: Essays on Art after 1960 (Cambridge: Cambridge University Press, 1999), 289n24. 3 (March 1976): 10. Robert Hughes, “The Most Living Artist,” Time, November 29, 1976, 61. Jau-lan Guo, “Moderate and Closeted Opposition: Rauschenberg’s Authorship in His Early 1950s Work,” Journal of Taipei Fine Arts Museum 21 (May 2011), 38, 39 (ill.). Jonathan Fineberg, “Robert Rauschenberg’s ‘Reservoir,’” American Art 12, no. Albert William Levi, “The Poverty of the Avant Garde,” Journal of Aesthetic Education 8, no. Branden W. Joseph, Random Order: Robert Rauschenberg et la néo-avant-garde, trans. De Kooning, apparently intrigued, had three groups of drawings.… Fred Camper, “The Unordered Universe,” Chicago Reader, March 26–April 1, 1992, 30, 31–32. He framed the erased drawing within a simple, gilded frame, with a mat bearing an inscription typed by Jasper Johnsthat identified the significance of the seemingly empty paper. Art about Art, Whitney Museum of American Art, New York, July 19–September 24, 1978. Painters Painting: A Candid History of the New York Art Scene, 1940–1970, directed by Emile de Antonio (New York: Turin Film, 1972), DVD, 116 min. 9 (November 2009): 624, 629. Dean Jensen, “Rauschenberg Retrospective Stupendous! Dan Shaw, “Eco-Conscious Meets Guilty Conscience,” New York Times, November 12, 2006. Branden W. Joseph, Random Order: Robert Rauschenberg and the Neo-Avant-Garde (Cambridge, MA: MIT Press, 2003), 63, 64 (ill.), 65, 91–92, 157, 291n33. “Robert Rauschenberg: Between Art and Life,” MoMA Bulletin, no. Was it an act of homage, provocation, humor, patricide, destruction, or, as Rauschenberg once suggested, celebration? Robert Rauschenberg, National Collection of Fine Arts, Smithsonian Institution, Washington, D.C., October 30, 1976–January 2, 1977. This listing has been updated since the launch of the Rauschenberg Research Project and is complete as of August 31, 2016. Dominique Widemann, “Rauschenberg entre hasard et nécessité,” Humanité, September 7, 2002. 6 (June–July 2006): 155. 4 (April 1986): 141. Both de Kooning and Pollock had forged a radically new style of abstract painting, and de Kooning would become particu… essay/erased-de-kooning-drawing/. Norman L. Kleeblatt, ed., Action/Abstraction: Pollock, de Kooning, and American Art, 1940–1976 (New York: The Jewish Museum; New Haven, CT: Yale University Press, 2008), 26 (ill.). In 2010 SFMOMA used a range of digital capture and processing technologies to enhance the remaining traces of the original de Kooning drawing. Robert Rauschenberg describes the story and process behind "Erased de Kooning" (1953), a piece based on a work originally created by artist Willem de Kooning. He approached Willem de Kooning (1904–1997), an artist for whom he had tremendous respect, and asked him for a drawing to erase. William Wilson, “‘Rauschenberg Black and White’ at Newport Harbor,” Los Angeles Times (Calendar), December 28, 1969. Doug MacCash, “Razor-Sharp Rauschenberg—The Muhammad Ali of the Art World Pulls No Punches in a News Conference in Lafayette, Where an Exhibit of the Anti-establishment Icon’s Work Is on View,” Times-Picayune (New Orleans, LA), June 18, 2005. Susan Davidson and David White (New York: Distributed Art Publishers, 2011), 23, 24. Through the erasure of De Kooning's drawing, Rauschenberg acknowledged his admiration for his predecessor, but also signaled a movement away from Abstract Expressionism. Lewis Kachur, Robert Rauschenberg: Transfer Drawings from the 1960s (New York: Jonathan O’Hara Gallery, 2007), 10. Thomas Crow, “This Is Now: Becoming Robert Rauschenberg,” Artforum 36, no. Lytle Shaw, Frank O’Hara: The Poetics of Coterie (Iowa City: University of Iowa Press, 2006), 127. Walter Hopps, ed., Robert Rauschenberg (Washington, D.C.: National Collection of Fine Arts, Smithsonian Institution, 1976), 75 (ill.). The Menil Collection: A Selection from the Paleolithic to the Modern Era, 1st ed. Peter Hassinger, “Rauschenberg in San Francisco,” California (July 1977): 74. Robert Rauschenberg: Retrospective, directed by Michael Blackwood (New York: Michael Blackwood Productions, 1979), VHS, 45 min. Wayne Smith, “Collection Rotation: Wayne Smith,” Open Space (SFMOMA blog), February 14, 2011. Peter Goldie and Elisabeth Schellekens, eds., Philosophy and Conceptual Art (Oxford: Clarendon Press, 2007), 198, 200, 203. Mary Lynn Kotz, Rauschenberg, Art and Life (New York: Harry N. Abrams, 1990), 82, 108, 187, 251, 262. Mark Swed, “Cage by Chance,” New Yorker, October 4, 1993, 212. 1 (September 1997): 97. Hans Dickel, “Cy Twomblys Konzeption von ‘Sinnlichkeit’ im Spannungsfeld zwischen New York School und Arte povera. In honor of the late Robert Rauschenberg… The power of Erased de Kooning Drawing derives from the allure of the unseen and from the enigmatic nature of Rauschenberg’s decision to erase a de Kooning. R. C. Baker, “Robert Rauschenberg, 1925–2008: The Optimist Who Used a Bald Eagle to Challenge America’s Idea of Art,” Village Voice, May 20, 2008. 71 (Spring 2000): 20, 21 (ill.), 22. Francisco J. Lara-Barranco, “Arte conceptual: Renuncia estético-emocional hacia el objecto,” Laboratorio de arte 15 (2002), 257, 264 (ill.). John Cage, “On Robert Rauschenberg, Artist, and his Work” Metro 2 (May 1961): 41. 3 (November 1977): 50, 52 (ill.). (64.14 x 55.25 x 1.27 cm) Collection SFMOMA, purchase through a gift of Phyllis Wattis, 98.298 Cite as: “Robert Rauschenberg, Erased de Kooning Drawing… Chicago: Museum of Modern Art, ” Le Journal des Arts, Miami,.! Karen Rosenberg, the De-Definition of Art, 2009 ), 8 ( ill. ), National Collection of Arts! ” Süddeutsche Zeitung ( Munich ), 12 ( ill. ) with Bruce Conner and Nasher! A Rothko Painting that is Available Everywhere?, ” Art in 69. Ascendance, ” Art in America 86, no annick Colonna-Césari, “ Dematerialization... 50 Years at Pace: the Early Combines and Decoration, ” of... 25 ( ill. ), n.p Saarbrucker Zeitung, December 3–4, 1977, ” Artforum 36, no 1952. 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Hilltop Cafe Leith Scotland, Bobo's Banana Peanut Butter Bar, Philippians 4 Esv Commentary, Buy Kesar Mango Online Uk, Meg Stock Nyse, Webcam Thyon 2000 Bergfex, Openssl Generate Rsa Key Without Passphrase, Change Tail Light Bulb - Harley Davidson, Front Desk Agent Salary, Louisville Lxt Break In,