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Al McConagha, “Rauschenberg Wants to Open People’s Eyes,” Minneapolis Tribune, May 9, 1965. Erased De Kooning Drawing: | ||Erased de Kooning Drawing|| is an early work of US artist |Robert Rauschenberg|: a... World Heritage Encyclopedia, the aggregation of the largest online encyclopedias available, and the most definitive collection ever assembled. Max Kozloff, “The Impact of de Kooning,” Arts Yearbook 7 (1964): 77, 79–80, 83. Fred Kaplan, 1959: The Year Everything Changed (Hoboken, NJ: John Wiley & Sons, 2009), 173–74, 288n173. Rauschenberg requested his colleague Jasper Johns t… Accessed June 23, 2013. How Robert Rauschenberg erased a Willem de Kooning and created a landmark of postmodernism. Branden W. Joseph, Random Order: Robert Rauschenberg et la néo-avant-garde, trans. essay/erased-de-kooning-drawing/. Brian O’Doherty, “Vanity Fair: The New York Art Scene,” Newsweek, January 4, 1965, 58. Dean Jensen, “Rauschenberg Retrospective Stupendous! Jennifer Mundy, Lost Art (London: Tate, 2013), 174 (ill. of infrared scan), 175–77, 178 (ill.). Bernice Rose, Drawing Now (New York: Museum of Modern Art, 1976), 8 (ill.), 12. Mark Swed, “Cage by Chance,” New Yorker, October 4, 1993, 212. Maryln Schwartz, “Portrait of an Artist as a Sibling and a Son,” Dallas Morning News, January 25, 1987. Camilla Blechen, “Inmitten der Bilderflut,” Du (Zürich) 6 (June 1980): 80. 6 (November/December 1990): 77. Christos M. Joachimides and Norman Rosenthal, eds., American Art in the 20th Century: Paintings and Sculpture, 1913–1993 (Munich: Prestel Verlag, 1993), 117 (ill.). 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. 1 (Spring 2008): 44. 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. Marc Pitzke,” Alles ist Kunst—Kunst ist alles,” Der Spiegel, May 14, 2008. Anna Gerber, “What Lies Beneath,” Print 57, no. The Menil Collection: A Selection from the Paleolithic to the Modern Era, 1st ed. Kriston Capps, “Can You Destroy a Rothko Painting that Is Available Everywhere?,” Washington Post, October 12, 2012. Benjamin H. D. Buchloh, “Allegorical Procedures: Appropriation and Montage in Contemporary Art,” Artforum 11, no. Stacey Baker, “Erasing ‘The Americans,’” New York Times (blog), February 28, 2012. Traces—Body and Idea in Contemporary Art (Kyoto, Japan: National Museum of Modern Art, 2004), 17 (ill.), 20, 318, 321. ———, Robert Rauschenberg: The Early 1950s (Houston: Menil Foundation, 1991), 8, 27, 37. Barbara Rose, An Interview with Robert Rauschenberg (New York: Vintage Books, 1987), 51. Robert Rauschenberg: Selections, Fort Worth Art Center Museum, Fort Worth, Texas, January 5–February 2, 1969. “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. Mirta D’Argenzio, ed., Robert Rauschenberg: Travelling ’70 |’76 (Milan: Electa, 2008), 203. Arthur Bloomfeld, “Art of the Enfant Terrible,” San Francisco Examiner, June 24, 1977. Benjamin Forgey, “An Artist for all Decades,” ARTnews 76, no. Barbara Buhler Lynes and Jonathan Weinberg, eds., Shared Intelligence: American Painting and the Photograph (Berkeley: University of California Press, 2011), 172. Kristine Stiles, “Rauschenberg, Looking Long and Thinking Hard,” in Rauschenberg: Collecting & Connecting, ed. 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.). 1 (September 1978): 149. 3D into 2D (New York: New York Cultural Center, 1973), 4, 31. Accessed June 23, 2013. 4 (April 1973): 57, 58. 9 (November 2009): 624, 629. Infrared scan and processing by Robin D. Myers, 2010. Richard B. Woodward, “Creative Destruction,” Wall Street Journal, January 7, 2014. (New York: Harry N. Abrams, 1997), 276. Traveled to: Kunstmuseum Hannover mit Sammlung Sprengel, Germany, August 19–September 23, 1979. 4 (April 1998): 51. Art Lovers: Stories of Art in the Pinault Collection (Monaco: Grimaldi Forum, 2014), 42, 49 (ill.), 52. Michael Newman, “Rauschenberg Re-Evaluated,” Art Monthly no. Verso (sheet): An untitled drawing by Willem de Kooning, Verso (backing board): Upper right, inscription in black: “53.D1”; center, inscribed in black by the artist’s studio assistant Charles Yoder: “DO NOT REMOVE DRAWING FROM FRAME. At first inspection, its meaning and import are utterly opaque, impossible even to speculate upon. Huntington Hartford, Art or Anarchy? “Major Show of Rauschenberg’s Art Opens in SF,” Palo Alto Times, June 24, 1977. Moira Roth, “Aesthetic of Indifference,” Artforum 16, no. 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.). 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. 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. 4 (July 2003): 52, 55. Accessed June 23, 2013. Albert William Levi, “The Poverty of the Avant Garde,” Journal of Aesthetic Education 8, no. Frances Colpitt, “Rauschenberg: In the Beginning,” Art in America 80, no. “Rauschenberg Exhibition Opens at Museum of Modern Art,” San Jose News, June 24, 1977. Barbara Rose, Gilbert Perlein, and Bruno Corà, Robert Rauschenberg: Oeuvres des années 80 et 90 (Nice: Éditions Nice Musées, 2005), 26–27, 54. 2 (March–April 1977): 79. 6 (June 2012): 65. Calvin Tomkins, Off the Wall: Robert Rauschenberg and the Art World of Our Time (Garden City, NY: Doubleday, 1980), 96–97, 299. John Cage, “On Robert Rauschenberg, Artist, and his Work” Metro 2 (May 1961): 41. 1103 (February 1995): 138. Steven Simmons, “American Collage: Robert Rauschenberg,” San Francisco Sentinel, July 28, 1977, 11. “Robert Rauschenberg: Between Art and Life,” MoMA Bulletin, no. “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. Kristine Stiles (Durham, NC: Nasher Museum of Art, 2014), online edition. Jerry Saltz, “Our Picasso?,” Artnet, January 11, 2006. 3 (May–June 1977): 60, 61. Jenna Sauers, “Burning a Birkin Is Not ‘Art,’” Jezebel, May 30, 2012. The inscription, “ERASED DE KOONING DRAWING BY ROBERT RAUSCHENBERG 1953,” is the only toehold offered to those unfamiliar with this enigmatic artwork. John Dilworth, “Resemblance, Restriction, and Content-Bearing Features,” Journal of Aesthetics and Art Criticism 63, no. Robert Rauschenberg. Both de Kooning and Pollock had forged a radically new style of abstract painting, and de Kooning would become particu… Florence Berkman, “Pop Art on Exhibition Free, Far Out,” Hartford Times, January 11, 1964. The Menil Collection: A Selection from the Paleolithic to the Modern Era, 2nd ed. Görel Cavalli-Björkman, ed., Falskt & Äkta (Stockholm: Författarna, Nationalmuseum och bildrättsinnehavarna, 2004), 208 (ill.). Pierre Daix, “Rauschenberg à la Fondation Maeght,” Désirs des arts, June 3, 1984 (Paris: Antenne 2): 26:29 min. Emma Hart, “I Am If I Say So, Bob & Bruce,” in Rauschenberg: Collecting & Connecting, ed. 5–6 (1961): 168. Frete GRÁTIS em milhares de produtos com o Amazon Prime. James Meyer, Minimalism: Art and Polemics in the Sixties (New Haven, CT: Yale University Press, 2001), 77. Robert Rauschenberg (New York: Gagosian Gallery, 2010), 9, 220. Nicolas Serota, ed., Cy Twombly: Cycles and Seasons (New York: Distributed Art Publishers, 2008), 58, 87. 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. Prior to making this painting, Rauschenberg was experimenting with erasing paintings that he had just made. 125 (Fall 1991): 30. John Cage, A Year from Monday: New Lectures and Writings (Middletown, CT: Wesleyan University Press, 1967), 71, 75. ALL OTHER USE PROHIBITED. Robert Rauschenberg, Untitled, 1955. American Drawings (New York: Solomon R. Guggenheim Museum, 1964), n.p. Roger Copeland, “The Politics of Perception,” New Republic, November 17, 1979, 26. Will Gompertz, “The artists who destroyed their own work,” BBC, July 15, 2015. Apr 25, 2016 - Explore Levering's board "drawing" on Pinterest. 3 (Spring 1975): 374. Robert Rauschenberg, video interview by David A. Ross, Walter Hopps, Gary Garrels, and Peter Samis, San Francisco Museum of Modern Art, May 6, 1999. Erased de Kooning Drawing eludes easy answers, its mysterious beginnings leaving it open to a range of present and future interpretations. 1953. The … 4 (October 2006), 329, 339, 340. In 1953 Robert Rauschenberg, a young, little known artist, took a box of erasers and set to rubbing out a densely layered drawing by Willem de Kooning, the king of Abstract Expressionism, and he did it with the Master’s permission.. Rauschenberg has said that he was “trying to find a way to bring drawing into the all whites.” Rolywholyover a Circus, Museum of Contemporary Art, Los Angeles, September 12–November 28, 1993. Accessed June 23, 2013. Eine kunsthistorische Sicht der Berliner Bilder,” Jahrbuch der Berliner Museen 45 (2003): 240 (ill.). 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. Digitally enhanced infrared scan of Robert Rauschenberg’s Erased de Kooning Drawing, 1953, showing traces of the original drawing by Willem de Kooning. Erased de Kooning Drawing, 1953.A de Kooning drawing, graphite, and other mediums on paper, erased by Rauschenberg and mounted in a gilded wooden frame with label inscribed using a … We believe that the brilliant histories of art belong to everyone, no matter their background. Chris Vitiello, “Rasuchenberg Recombined: With Bruce Conner and various Nasher holdings,” Indy Week, August 20, 2014. Charles Shere, “The Ripening of Robert Rauschenberg—A Retrospective,” Oakland Tribune, July 3, 1977. Help Smarthistory continue to make a difference, Help make art history relevant and engaging, An Introduction to photography in the early 20th century, Representation and abstraction: looking at Millais and Newman, Pablo Picasso and the new language of Cubism, Georges Braque and Pablo Picasso: Two Cubist Musicians, The Cubist City – Robert Delaunay and Fernand Léger, Russian Neo-Primitivism: Natalia Goncharova and Mikhail Larionov, De Stijl, Part II: Near-Abstraction and Pure Abstraction, De Stijl, Part III: The Total De Stijl Environment, Surrealist Techniques: Subversive Realism, The origins of modern art in São Paulo, an introduction, An Antidote for Social Amnesia: The Memory Space of the, International Style architecture in Mexico and Brazil. An interconnected world is not as recent as we think. 47 (June 1981): 9. Tom Folland, “Robert Rauschenberg’s Queer Modernism: The Early Combines and Decoration,” Art Bulletin 92, no. Poets of the Cities: New York and San Francisco, 1950–1965, Dallas Museum of Fine Arts, November 20–December 29, 1974. “A Close-Up of an Artist’s Evolution at Corcoran,” Washington Times, June 24, 1991. Recto: On small piece of paper board beneath drawing in blue ink: “ERASED DE KOONING DRAWING ROBERT RAUSCHENBERG 1953”. Stuart Morgan, “About Art about Art,” Arts Magazine 53, no. 4 (October 1974), 14. Jack Fischer, “SFMOMA’s Best Friend,” San Jose Mercury News, February 9, 2003. Traveled to: San Francisco Museum of Art, January 31–March 23, 1975; Wadsworth Atheneum, Hartford, Connecticut, April 23–June 1, 1975. Jen Scoville, “Rauschenberg’s Repartee: Facetious Facets of the Retrospective in Houston,” Texas Monthly, 1998. Paul Schimmel, ed., Robert Rauschenberg: Combines (Los Angeles: Museum of Contemporary Art, 2005), 206, 248 (ill.), 272n39. Traces of drawing media on paper (1925-2008) SFMOMA See more ideas about Drawings, Erased de kooning drawing, Robert rauschenberg. Did not travel to Center for the Fine Arts, Miami, Florida. Jerome Tarshis, “Creativity Knew No Limits,” Christian Science Monitor, September 14, 1992, 16. Lucy R. Lippard, Pop Art (New York: Frederick A. Praeger, 1966), 23. Carroll Janis, “Marcel Duchamp Curates Dada,” Art in America 94, no. Hans Dickel, “Cy Twomblys Konzeption von ‘Sinnlichkeit’ im Spannungsfeld zwischen New York School und Arte povera. De Kooning, apparently intrigued, had three groups of drawings.… Group Drawings, Poindexter Gallery, New York, December 19, 1955–January 4, 1956. Accessed June 23, 2013. ラウシェンバーグ [Rauschenberg], Gendai bijutsu 14 (Tokyo: Kodansha, 1993), n.p. The story of how Erased de Kooning Drawing came into being is central to its reception and reputation, and cannot be separated from the work itself. William Kentridge (Chicago: Museum of Contemporary Art, 2001), 20 (ill.), 21. Stephen Poser, “The Life and Death of the Unconscious in Modern and Contemporary Art,” Modern Psychoanalysis 33, no. Because de Kooning used erasure heavily in his own drawings, it is possible that some traces made visible through this technology were actually erased by him as part of the original drawing, before it entered Rauschenberg’s hands. Katy Siegal, ed., Abstract Expressionism (New York: Phaidon, 2011), 30 (ill.). Charms, ” Palo Alto Times, December 5, 2003 Finkel ( York. Doherty, “ American Collage: Robert Rauschenberg: Between Art and Cultural heritage—for Free Modern!, Walker Art Center, New York: Penguin, 1976 ), February 9 1966. And Pop Art Years, Pace Gallery, New York Times, December,...: Race and erasure in the Beginning, ” Informatíon, October 9, 1976,. Reader, March 23–October 28, 1977 world without Distinctions: Rauschenberg at the Guggenheim ”... Davidson and david White ( New York and San Francisco Bay Guardian, July 15, 1992 Tono “. 52, 55 la Rassegna d ’ Ischia 30, 31–32 Circus, Museum of Art! Mark Dobbs, “ Transformations, ” New Yorker, February 20,.! 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