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robert rauschenberg erased de kooning drawing

Sinopsis

In 1953, Robert Rauschenberg erased an art piece created by the abstract expressionist Willem De Kooning. Carroll Janis, “Marcel Duchamp Curates Dada,” Art in America 94, no. “Most Happy Fella,” Time, September 18, 1964, 84. 1 (January 2008): 137. The female figure at lower left is likely related to the Woman series, with which de Kooning was deeply involved from 1950 to 1955. Lucy R. Lippard and John Chandler, “The Dematerialization of Art,” Art International, February 20, 1968, 32. 1103 (February 1995): 138. Andrew Forge, Rauschenberg (New York: Harry N. Abrams, 1969), 7, 25. Dave Hickey, “Apogamy Pods: Rauschenberg Erases Rauschenberg,” Apogamy Pods (New York: PaceWildenstein, 2000), 4 (ill.), 5. 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. Accessed June 23, 2013. https://transatlantica.revues.org/313. Tijs Goldschmidt, Kloten van de engel: Beschouwingen over de natuurlijkheid van cultuur (Amsterdam: Athenaeum—Polak & Van Gennep, 2007), 6 (ill.), 8. Irith Hadar, Under Erasure (תחת מחיקה) (Tel Aviv: Tel Aviv Museum of Art, 2014), 12 (ill.), 13–14, 127–28. FRAME IS PART OF DRAWING”, https://sfmoma-media-dev.s3.us-west-1.amazonaws.com/www-media/2020/09/12182455/en_353a_Rauschenberg_ErasedDeKooning.mp3. Judith L. Dunham, “Rauschenberg’s Retrospective—Works Worth the Reading,” Artweek, July 30, 1977, 20. These works recall and effectively extend the notion of the artist as creator of ideas, a concept first broached by Marcel Duchamp (1887–1968) with his iconic readymades of the early twentieth century. Charlotte Healy, “A Radical Disregard for the Preservation of Art: Robert Rauschenberg’s Elemental Paintings,” Interventions 4, January 2015. Gregory Battcock, Minimal Art: A Critical Anthology (New York: E. P. Dutton, 1968), 298, 299. Mary Lynn Kotz, Rauschenberg, Art and Life (New York: Harry N. Abrams, 1990), 82, 108, 187, 251, 262. Robert Rauschenberg (New York: Gagosian Gallery, 2010), 9, 220. Territorium Artis, Kunst- und Ausstellungshalle der Bundesrepublik Deutschland, Bonn, Germany, June 19–September 20, 1992. Benjamin Forgey, “An Artist for all Decades,” ARTnews 76, no. Carter Ratcliff, “Mostly Monochrome,” Art in America 69, no. 50 Years at Pace: The Abstract Expressionist and Pop Art Years, Pace Gallery, New York, September 17–October 23, 2010. “SFMOMA 75th Anniversary: David Ross,” interview conducted by Lisa Rubens, 2007, Regional Oral History Office, The Bancroft Library, University of California, Berkeley, 2009, 28, 102, 104, 108–9, 117. Albert William Levi, “The Poverty of the Avant Garde,” Journal of Aesthetic Education 8, no. Anna Gerber, “What Lies Beneath,” Print 57, no. Accessed June 23, 2013. https://www.spiegel.de/kultur/gesellschaft/zum-tode-robert-rauschenbergs-alles-ist-kunst-kunst-ist-alles-a-553127-druck.html. Jennifer Mundy, Gallery of Lost Art, Tate online exhibition, July 12, 2012. Looking at Jackson Pollock, The Painting Techniques of Jackson Pollock, Paint Application Studies of Jackson Pollock's, The Painting Techniques of Barnett Newman, Gerhard Richter, The Cage Paintings (1-6), Louis Sullivan, Carson, Pirie, Scott Building, A Landmark Decision: Penn Station, Grand Central, and the architectural heritage of NYC, Solomon R. Guggenheim Museum, New York City, Gordon Bunshaft for Skidmore Owings and Merrill, Lever House, Ludwig Mies van der Rohe, Seagram Building, New York City, Russel Wright, "American Modern" Pitchers, Glass Chair at the 1939 New York World's Fair, Running in sneakers, the Judson Dance Theater, Breuer, The Whitney Museum of American Art (now The Met Breuer), Robert Venturi, House in New Castle County, Delaware, Zaha Hadid, MAXXI National Museum of XXI Century Arts, https://smarthistory.org/erased-dekooning-rauschenberg/. If you are planning a visit to SFMOMA to see a specific work of art, we suggest you contact us at collections@sfmoma.org to confirm it will be on view. Jean Lipman and Richard Marshall, Art about Art (New York: Whitney Museum of American Art, 1978), 142, 147 (ill.). Multiple figures fill the sheet, oriented in two directions. Damage Control: Art and Destruction Since 1950, Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, D.C., October 24, 2013–May 26, 2014. 3 (May–June 1977): 60, 61. Accessed April 2, 2015. https://post.at.moma.org/content_items/478-lost-in-translation-twenty-questions-to-bob-rauschenberg. Distributed by New Video in 2010. 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. Übrigens sterben immer die anderen: Marcel Duchamp und die Avantgarde seit 1950, Museum Ludwig, Cologne, Germany, January 15–March 6, 1988. Götz Adriani, Robert Rauschenberg: Zeichnungen, Gouachen, Collagen 1949 bis 1979 (Munich: R. Piper & Co. Verlag, 1979), 11, 176. Accessed June 23, 2013. https://greg.org/archive/2011/05/30/frame_is_part_of_drawing.html. Courtesy of … Jonathan D. Katz, “The Outness of Rauschenberg’s Art,” Gay & Lesbian Review 15 (September–October 2008): 10. Somewhat reluctantly, de Kooning agreed. ———, “Om Robert Rauschenberg, konstnär, och hans arbete,” Konstrevy 37, no. Bruno Marchand, ed., Robert Rauschenberg: Crítica e obra de 1949 a 1974 (Porto, Portugal: Fundação de Serralves, 2008), 22 (ill.), 152. 4 (April 1986): 141. Kristine Stiles, “Rauschenberg, Looking Long and Thinking Hard,” in Rauschenberg: Collecting & Connecting, ed. Barbara Rose, An Interview with Robert Rauschenberg (New York: Vintage Books, 1987), 51. Robert Rauschenberg: A Retrospective, Solomon R. Guggenheim Museum, New York, September 19, 1997–January 7, 1998. This listing has been updated since the launch of the Rauschenberg Research Project and is complete as of August 31, 2016. The sight of this approximation of de Kooning’s drawing ultimately does not transform our understanding of Rauschenberg’s finished artwork. (New York: Harry N. Abrams, 1987), 276. Maryln Schwartz, “Portrait of an Artist as a Sibling and a Son,” Dallas Morning News, January 25, 1987. However, the resulting image reveals a field of marks that is far from a finished drawing or even a focused study. Lynne Cooke, “Robert Rauschenberg: The Early 1950s,” Burlington Magazine 134, no. Thomas Crow, “This Is Now: Becoming Robert Rauschenberg,” Artforum 36, no. 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. Jennifer Mundy, Lost Art (London: Tate, 2013), 174 (ill. of infrared scan), 175–77, 178 (ill.). Laszlo Glozer, Westkunst: Zeitgenössiche Kunst seit 1939 (Cologne: DuMont Buchverlag Köln, 1981), 23 (ill.), 433 (ill.). Fred Kaplan, 1959: The Year Everything Changed (Hoboken, NJ: John Wiley & Sons, 2009), 173–74, 288n173. 45 (September/October 1979): 42. 4 (Winter 2005): 291. Traveled to: North Carolina Museum of Art, Raleigh, October 22–November 26, 1978; Frederick S. Wight Art Gallery, University of California, Los Angeles, December 17, 1978–February 11, 1979; Portland Art Museum, Oregon, March 6–April 15, 1979. Erased de Kooning Drawing eludes easy answers, its mysterious beginnings leaving it open to a range of present and future interpretations. In honor of the late Robert Rauschenberg… 110 (Winter 2009/2010): 44, 47 (ill.). Charles F. Stuckey, “Reading Rauschenberg,” Art in America 65, no. Calvin Tomkins, The Bride and the Bachelors: Five Masters of the Avant-Garde (New York: Penguin, 1976): 210–11. Sophie Lévy, “Une exposition en blanc,” Transatlantica 1 (2005). Art in the Mirror, Museum of Modern Art, New York, November 22, 1966–February 5, 1967. ラウシェンバーグ [Rauschenberg], Gendai bijutsu 14 (Tokyo: Kodansha, 1993), n.p. Please review our Terms of Use for more information. John Cage, A Year from Monday: New Lectures and Writings (Middletown, CT: Wesleyan University Press, 1967), 71, 75. Helen L. Kohen, “Matisse Leads Packed Museum Season,” Miami Herald (Florida), November 8, 1992. “SFMOMA 75th Anniversary: David White,” interview conducted by Richard Cándida Smith, Sarah Roberts, Peter Samis, and Jill Sterrett, 2009, Regional Oral History Office, The Bancroft Library, University of California, Berkeley, 2010, 33, 34, 39–53, 57, 76, 80. Francis M. Naumann and Robert Rosenblum, Mike Bidlo: Erased de Kooning Drawings (New York: Francis M. Naumann Fine Art, 2005), 4–5, 6 (ill.), 7–9. 125 (Fall 1991): 30. ———, Robert Rauschenberg: The Early 1950s (Houston: Menil Foundation, 1991), 8, 27, 37. 4 (April 1998): 51. Irving H. Sandler, The New York School: The Painters and Sculptors of the Fifties (New York: Harper & Row, 1978), 173n46, 177. Marjorie Welish, Signifying Art: Essays on Art after 1960 (Cambridge: Cambridge University Press, 1999), 289n24. Robert Rauschenberg: Selections, Fort Worth Art Center Museum, Fort Worth, Texas, January 5–February 2, 1969. . Only a portion of SFMOMA's collection is currently online, and the information presented here is subject to revision. Peter Goldie and Elisabeth Schellekens, eds., Philosophy and Conceptual Art (Oxford: Clarendon Press, 2007), 198, 200, 203. Anaël Lejeune, Olivier Mignon, and Raphaël Pirenne (Brussels: Continental Rift, 2012), 89, 90 (ill.), 91, 92, 123, 125, 189. ‘Twenty Questions to Bob Rauschenberg,” post, Museum of Modern Art, New York, September 9, 2014. Dario Gamboni, The Destruction of Art: Iconoclasm and Vandalism since the French Revolution (New Haven, CT: Yale University Press, 1997), 268, 269 (ill.). Diane Haithman, “S.F. “Lärm im Spiegel,” Der Spiegel, May 6, 1968, 153. Please contact us at collections@sfmoma.org to verify collection holdings and artwork information. Robert Rauschenberg: The Early 1950s, Corcoran Gallery of Art, Washington, D.C., June 15–August 11, 1991. Traveled to: Fundació Joan Miró, Barcelona, March 28–May 19, 1985. Brian O’Doherty, “Vanity Fair: The New York Art Scene,” Newsweek, January 4, 1965, 58. Carol Vogel, “Inside Art: Left Their Art in San Francisco,” New York Times, June 5, 1998. Westkunst: Zeitgenössische Kunst seit 1939, Rheinhallen KölnMesse (organized by Museen der Stadt Köln), Cologne, Germany, May 30–August 16, 1981. Traces of drawing media on paper (1925-2008) SFMOMA Janet Tyson, “Robert Rauschenberg reste saisi,” Le journal des arts, March 13, 1998. 7 (Summer 2006): 55. Greg Allen, “‘Frame Is Part of Drawing,’” Greg, May 30, 2011. 1070 (May 1992): 336. Henry J. Seldis, “Rauschenberg Retrospective: Robert’s Rules of Disorder,” Los Angeles Times, July 24, 1977. Emile de Antonio and Mitch Tuchman, Painters Painting (New York: Abbeville Press, 1984), 91–92. Eine kunsthistorische Sicht der Berliner Bilder,” Jahrbuch der Berliner Museen 45 (2003): 240 (ill.). Yoshiaki Tono, “From a Gulliver’s Point of View,” Art in America 48, no. Frete GRÁTIS em milhares de produtos com o Amazon Prime. 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). Louis Menand, “A Critic at Large: Top of the Pops,” New Yorker, January 11, 2010, 64. “SFMOMA 75th Anniversary: Peter Samis,” interview conducted by Jess Rigelhaupt, 2008, Regional Oral History Office, The Bancroft Library, University of California, Berkeley, 2009, 8, 17, 26. The result has become a … 3 (November 1977): 50, 52 (ill.). Catherine Craft, Robert Rauschenberg (London: Phaidon, 2013), 27, 44, 45 (ill.), 122. Stuart Morgan, “About Art about Art,” Arts Magazine 53, no. Robert Rauschenberg, video interview by David A. Ross, Walter Hopps, Gary Garrels, and Peter Samis, San Francisco Museum of Modern Art, May 6, 1999. Target Practice: Painting Under Attack: 1949–78, Seattle Art Museum, June 25–September 7, 2009. Michael Darling, ed., Target Practice: Painting Under Attack: 1949–78 (Seattle: Seattle Art Museum, 2009), 26 (ill.), 142, 143n36. Michael Newman, “Rauschenberg Re-Evaluated,” Art Monthly no. Roger Bevan, “San Francisco: Salvaging 1950s Rauschenberg,” Art Newspaper 3, no. The inscription, “ERASED DE KOONING DRAWING BY ROBERT RAUSCHENBERG 1953,” is the only toehold offered to those unfamiliar with this enigmatic artwork. Carmine Negro, “Rauschenberg al Madre: Le sue opere datate anni Settanta,” La Rassegna d’Ischia 30, no. After Rauschenberg completed the laborious erasure, he and fellow artist Jasper Johns (b. Jerry Saltz, “Our Picasso?,” Artnet, January 11, 2006. Barry Schwabsky, “Vacant, Limpid, Angelic,” The Nation, November 7, 2011, 27. John Dilworth, “Resemblance, Restriction, and Content-Bearing Features,” Journal of Aesthetics and Art Criticism 63, no. Calvin Tomkins, “Profiles: Moving Out,” New Yorker, February 29, 1964, 66, 71. Did not travel to Guggenheim Museum SoHo, New York. Art Lovers: Stories of Art in the Pinault Collection (Monaco: Grimaldi Forum, 2014), 42, 49 (ill.), 52. Produced for the Menil presentation only. Traveled to: Kunstmuseum Hannover mit Sammlung Sprengel, Germany, August 19–September 23, 1979. Robert Rauschenberg. 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. “A Close-Up of an Artist’s Evolution at Corcoran,” Washington Times, June 24, 1991. Did not travel to Center for the Fine Arts, Miami, Florida. Jan Marontate, “Rethinking Permanence and Change in Contemporary Cultural Preservation Strategies,” Journal of Arts Management, Law, and Society 34, no. Jonathan Fineberg, “Robert Rauschenberg’s ‘Reservoir,’” American Art 12, no. Simen Joachim Helsvig, “Tengestykker,” Kunstkritikki, October 21, 2014. 4 (October 1974), 14. 1 (Autumn 2000): 113–15. Charlie Finch, “Rauschenberg’s Long Goodbye,” Artnet, December 8, 2000. ROBERT RAUSCHENBERG FOUNDATION/NYT Show More Show Less 4 of 10 RAUSCHENBERG 2/C/18AUG98/DD/HO-- ART ENTITLED: "Erased De Kooning Drawing", 1953 by Robert Rauschenberg. Philip Fisher, Making and Effacing Art: Modern American Art in a Culture of Museums (New York: Oxford University Press, 1991), 98–99. Accessed June 23, 2013. https://bancroft.berkeley.edu/ROHO/projects/sfmoma/interviews.html. Pierre Daix, “Rauschenberg à la Fondation Maeght,” Désirs des arts, June 3, 1984 (Paris: Antenne 2): 26:29 min. (Garden City, NY: Doubleday, 1964), 35. Cate McQuaid, “Something Borrowed at an MIT show, Artists Pay Tribute to, and Twist, Works that Have Influenced Them,” Boston Globe, May 30, 2003. Barbara Pollack, “Under Destruction,” ARTnews 111, no. Moira Roth, “Aesthetic of Indifference,” Artforum 16, no. Patricia G. Berman and Pari Stave, Munch|Warhol and the Multiple Image (New York: The American-Scandinavian Foundation, 2013), 22 (ill.), 23. 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. Visible light scan by Ben Blackwell, 2010. Helen Molesworth, Darsie Alexander, Chris Gilbert, et al., Work Ethic (Baltimore: Baltimore Museum of Art, 2003), 24 (ill.), 25, 32, 83. Katy Siegal, ed., Abstract Expressionism (New York: Phaidon, 2011), 30 (ill.). Traveled to: The Menil Collection, Houston, February 13–May 17, 1998; Museum Ludwig, Cologne, Germany, June 27–October 11, 1998; Guggenheim Museum Bilbao, Spain, November 21, 1998–March 7, 1999. Kenneth Baker, “Rauschenberg Coup at SFMOMA: ‘Port of Entry’ a Major New Work,” San Francisco Chronicle, May 8, 1999. “Rauschenberg Exhibition Opens at Museum of Modern Art,” San Jose News, June 24, 1977. Roni Feinstein, “Rauschenberg: Solutions for a Small Planet,” Art in America 86, no. “‘Art in the Mirror’: Pop Art Exhibit Kids Tired Old Cliches,” Florence Morning News (Florence, SC), December 18, 1966. Now You See It (Aspen, CO: Aspen Art Museum, 2008), 16 (ill.). Tim Marlow, “Robert Rauschenberg,” Tate: The Art Magazine 16 (Winter 1998): 46. Judith Aminoff (Paris: Musée d’Art Moderne de la Ville de Paris, 1989), 15, 21, 223 (ill.). Rauschenberg: Werke 1950–1980, Staatliche Kunsthalle Berlin, March 23–May 4, 1980. 1953. John Paul Ricco, “Name No One Man,” Parallax 11 (April–June 2005): 95–102. Poets of the Cities: New York and San Francisco, 1950–1965, Dallas Museum of Fine Arts, November 20–December 29, 1974. Build understanding across cultures, titled Erased de Kooning drawing is Bigger Than used. Selections, Fort Worth Art Center, New York: PaceWildenstein, 1997 &,. Zen and the Art, ” Art in America 80, no: 80 various Nasher holdings, ” York. 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