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. Stiles (Durham, NC: Nasher Museum of Art, 2014), online edition. Dominique Widemann, “Rauschenberg entre hasard et nécessité,” Humanité, September 7, 2002. Erased de Kooning Drawing eludes easy answers, its mysterious beginnings leaving it open to a range of present and future interpretations. Rauschenberg first tried erasing his own drawings but ultimately decided that in order for the experiment to succeed he had to begin with an artwork that was undeniably significant in its own right. Emma Hart, “I Am If I Say So, Bob & Bruce,” in Rauschenberg: Collecting & Connecting, ed. Carolyn Lanchner, Robert Rauschenberg (New York: Museum of Modern Art, 2009), 29, 30 (ill.). Götz Adriani, Robert Rauschenberg: Zeichnungen, Gouachen, Collagen 1949 bis 1979 (Munich: R. Piper & Co. Verlag, 1979), 11, 176. Charlie Finch, “Rauschenberg’s Long Goodbye,” Artnet, December 8, 2000. Dean Jensen, “Rauschenberg Retrospective Stupendous! Daniel A. Siedell, “The Visual Culture of Robert Rauschenberg,” Sheldon Museum of Art Catalogues and Publications, 1999. Accessed June 23, 2013. https://greg.org/archive/2011/05/30/frame_is_part_of_drawing.html. Marjorie Welish, Signifying Art: Essays on Art after 1960 (Cambridge: Cambridge University Press, 1999), 289n24. Joseph N. Newland, ed., Ai Weiwei: Dropping the Urn; Ceramic Works, 5000 BCE–2010 CE (Glenside, PA: Arcadia University Art Gallery, 2010), 84 (ill.), 85, 89, 114, 116. Reggie Michael Rodrigue, “The Only Stair that Doesn’t Creak: Silence,” Oxford American, September 4, 2012. Jeffrey Kastner, “Houston: Sins of Commission?,” ARTnews 97, no. Helen L. Kohen, “Matisse Leads Packed Museum Season,” Miami Herald (Florida), November 8, 1992. Mary Jane Jacob and Jacquelynn Bass (Chicago: School of the Art Institute of Chicago; Berkeley: University of California Press, 2009), 132, 133 (ill.), 134. If you are interested in receiving a high resolution image of an artwork for educational, scholarly, or publication purposes, please contact us at copyright@sfmoma.org. Calvin Tomkins, Off the Wall: Robert Rauschenberg and the Art World of Our Time (Garden City, NY: Doubleday, 1980), 96–97, 299. Robert Rauschenberg, Erased de Kooning Drawing, 1953 Flip the work around, though, and there is a lot to see–dozens of exhibition labels crowd the back of Erased de Kooning’s frame. Arthur Bloomfeld, “Art of the Enfant Terrible,” San Francisco Examiner, June 24, 1977. Black, White and Grey: Contemporary Painting and Sculpture, Wadsworth Atheneum, Hartford, Connecticut, January 9–February 9, 1964. Arthur C. Danto, “Robert Rauschenberg,” The Nation, November 17, 1997, 35. Rune Gade, “Maleriet lever,” Informatíon, October 24, 2014. ———, Robert Rauschenberg: The Early 1950s (Houston: Menil Foundation, 1991), 8, 27, 37. American Drawings, Solomon R. Guggenheim Museum, New York, September 17–October 27, 1964. This resource is for educational use and its contents may not be reproduced without permission. Because I'm wrapping up my Contemporary Art class, I'm going to choose a piece from an artist that made me look at contemporary art in a new way: the Erased de Kooning Drawing by Robert Rauschenberg. Hans Dickel, “Cy Twomblys Konzeption von ‘Sinnlichkeit’ im Spannungsfeld zwischen New York School und Arte povera. Was it an act of homage, provocation, humor, patricide, destruction, or, as Rauschenberg once suggested, celebration? Branden W. Joseph, Random Order: Robert Rauschenberg et la néo-avant-garde, trans. David Bonetti, “Rauschenberg Coup Cements SFMOMA’s Ascendance,” San Francisco Examiner, May 28, 1999. Sylvia Tan, “Tracks of Time,” San Francisco Bay Guardian, August 25, 1999. Michael Newman, “Rauschenberg Re-Evaluated,” Art Monthly no. Mark Stevens and Annalyn Swan, eds., de Kooning: An American Master (New York: Alfred A. Knopf, 2004), 359–60, 455. Leo Steinberg, “Reflections on the State of Criticism,” Artforum 10, no. Walter Hopps, ed., Robert Rauschenberg (Washington, D.C.: National Collection of Fine Arts, Smithsonian Institution, 1976), 75 (ill.). ALL OTHER USE PROHIBITED. Neil A. Chassman, Robert M. Murdock, Lana Davis, et al., Poets of the Cities: New York and San Francisco 1950–1965 (Dallas: Dallas Museum of Fine Arts, 1974), 32, 35, 41, 76 (ill.), 169. 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. How Robert Rauschenberg erased a Willem de Kooning and created a landmark of postmodernism. Recto: On small piece of paper board beneath drawing in blue ink: “ERASED DE KOONING DRAWING ROBERT RAUSCHENBERG 1953”. “Robert Rauschenberg: Between Art and Life,” MoMA Bulletin, no. Anna Gerber, “What Lies Beneath,” Print 57, no. Louis Menand, “A Critic at Large: Top of the Pops,” New Yorker, January 11, 2010, 64. Richard Kostelanetz, Master Minds: Portraits of Contemporary American Artists and Intellectuals (New York: Macmillan, 1969), 269. Poets of the Cities: New York and San Francisco, 1950–1965, Dallas Museum of Fine Arts, November 20–December 29, 1974. Jonathan D. Katz, “‘Committing the Perfect Crime’: Sexuality, Assemblage, and the Postmodern Turn in American Art,” Art Journal 67, no. Christine Temin, “‘Art’ and Art—Thoughts on White Matter and Its Value,” Boston Globe, March 8, 2000. 4 (October 2006), 329, 339, 340. Erasing A Rauschenberg by Nikolas Bentel Grace Glueck, “Art People,” New York Times, March 25, 1977. 3D into 2D (New York: New York Cultural Center, 1973), 4, 31. 1 (Spring 2008): 44. Erased de Kooning Drawing by Robert Rauschenberg Erased de Kooning Drawing is without a doubt the most famous " painting" by Rauschenberg and a personal favorite of mine. The Menil Collection: A Selection from the Paleolithic to the Modern Era, 1st ed. San Francisco Museum of Modern Art, purchase through a gift of Phyllis Wattis, 1998. 4 (Winter 2005): 291. Harold Rosenberg, Artworks and Packages (New York: Horizon Press, 1968), 24, 25 (ill.), 26. ———, “Quiet House,” Museum & Arts Washington 6, no. Charlotte Healy, “A Radical Disregard for the Preservation of Art: Robert Rauschenberg’s Elemental Paintings,” Interventions 4, January 2015. Accessed June 23, 2013. https://bancroft.berkeley.edu/ROHO/projects/sfmoma/interviews.html. 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. Mark A. Cheetham, Abstract Art Against Autonomy: Infection, Resistance, and Cure since the ’60s (Cambridge: Cambridge University Press, 2006), 52, 53 (ill.), 80. Barbara Hess, Willem de Kooning, 1904–1997: Content as a Glimpse (Cologne: Taschen, 2004), 7, 8 (ill.). Greg Allen, “Erased De Kooning Drawing Is Bigger Than It Used To Be,” Greg, January 11, 2012. Westkunst: Zeitgenössische Kunst seit 1939, Rheinhallen KölnMesse (organized by Museen der Stadt Köln), Cologne, Germany, May 30–August 16, 1981. In 2010 SFMOMA used a range of digital capture and processing technologies to enhance the remaining traces of the original de Kooning drawing. Antonia Phillips, “Cleaning Up,” Times Literary Supplement (London), May 22, 1981, 572. Robert Rauschenberg with Willem de Kooning and Jasper Johns. Lloyd Whitesell, “White Noise: Race and Erasure in the Cultural Avant-Garde,” American Music 19, no. Übrigens sterben immer die anderen: Marcel Duchamp und die Avantgarde seit 1950, Museum Ludwig, Cologne, Germany, January 15–March 6, 1988. Judith L. Dunham, “Rauschenberg’s Retrospective—Works Worth the Reading,” Artweek, July 30, 1977, 20. 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. Accessed April 2, 2015. https://interventionsjournal.net/2015/01/23/a-radical-disregard-for-the-preservation-of-art-robert-rauschenbergs-elemental-paintings/. Brian O’Doherty, “Vanity Fair: The New York Art Scene,” Newsweek, January 4, 1965, 58. Wayne Smith, “Collection Rotation: Wayne Smith,” Open Space (SFMOMA blog), February 14, 2011. The Menil Collection: A Selection from the Paleolithic to the Modern Era, 2nd ed. Katherine Hardiman, “Monochromes & Mandalas,” in Rauschenberg: Collecting & Connecting, ed. 47 (June 1981): 9. Al McConagha, “Rauschenberg Wants to Open People’s Eyes,” Minneapolis Tribune, May 9, 1965. Lynn Barber, “Robert Rauschenberg,” Observer Life Magazine (London), October 26, 1997, 12 (ill.). Frances Colpitt, “Rauschenberg: In the Beginning,” Art in America 80, no. Christos M. Joachimides and Norman Rosenthal, eds., American Art in the 20th Century: Paintings and Sculpture, 1913–1993 (Munich: Prestel Verlag, 1993), 117 (ill.). 1 (September 2008): 427, 428, 429 (ill.). 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.). Discussion of Erased de Kooning begins at 11:14 min. 1 (February 1977): 47. Erased de Kooning Drawing eludes easy answers, its mysterious beginnings leaving it open to a range of present and future interpretations. Jo Ann Lewis, “Rauschenberg, Bright and Early; Accomplished Works of the Young Artist, at the Corcoran,” Washington Post, June 15, 1991. 6) Robert Rauschenberg created a work titled Erased de Kooning Drawing by erasing a work by the Abstract Expressionist artist Willem de Kooning. Rocío Aranda-Alvarado, Unmaking: The Work of Raphael Montañez Ortiz (Jersey City, NJ: Jersey City Museum, 2007), 6. Jen Scoville, “Rauschenberg’s Repartee: Facetious Facets of the Retrospective in Houston,” Texas Monthly, 1998. Jonathan Fineberg, “Robert Rauschenberg’s ‘Reservoir,’” American Art 12, no. Accessed June 23, 2013. https://bancroft.berkeley.edu/ROHO/projects/sfmoma/interviews.html. Roni Feinstein, “Rauschenberg: Solutions for a Small Planet,” Art in America 86, no. Fred Camper, “The Unordered Universe,” Chicago Reader, March 26–April 1, 1992, 30, 31–32. 4 (April 1992): 128. Branden W. Joseph, “Blanc sur blanc: Robert Rauschenberg et John Cage,” Les Cahiers du Musée national d’art moderne, no. “Most Happy Fella,” Time, September 18, 1964, 84. Charles F. Stuckey, “Reading Rauschenberg,” Art in America 65, no. Irith Hadar, Under Erasure (תחת מחיקה) (Tel Aviv: Tel Aviv Museum of Art, 2014), 12 (ill.), 13–14, 127–28. Donna Tennant, “Houston: Robert Rauschenberg—Contemporary Arts Museum,” ARTnews 85, no. Accessed April 2, 2015. https://post.at.moma.org/content_items/478-lost-in-translation-twenty-questions-to-bob-rauschenberg. “Lärm im Spiegel,” Der Spiegel, May 6, 1968, 153. 4 (October 1974), 14. At first inspection, its meaning and import are utterly opaque, impossible even to speculate upon. (ill.). 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. Traces of drawing media on paper (1925-2008) SFMOMA 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. Douglas Gordon: Self-Portrait of You + Me, After the Factory (New York: Gagosian Gallery, 2008), 4 (ill.), 5. Lucy R. Lippard, Pop Art (New York: Frederick A. Praeger, 1966), 23. Max Kozloff, “The Impact of de Kooning,” Arts Yearbook 7 (1964): 77, 79–80, 83. We believe that the brilliant histories of art belong to everyone, no matter their background. Robert M. Adams, The Lost Museum: Glimpses of Vanished Originals (New York: Viking Press, 1980), 11. Through the erasure of De Kooning's drawing, Rauschenberg acknowledged his admiration for his predecessor, but also signaled a movement away from Abstract Expressionism. Jill Johnston, Jasper Johns: Privileged Information (London: Thames and Hudson, 1996), 135, 309n47. Peter Hassinger, “Rauschenberg in San Francisco,” California (July 1977): 74. Accessed June 23, 2013. https://6thfloor.blogs.nytimes.com/2012/02/28/erasing-americans/. Both de Kooning and Pollock had forged a radically new style of abstract painting, and de Kooning would become particu… Monroe C. Beardsley, “The Faith of Graffiti,” Journal of Aesthetics and Art Criticism 33, no. Unpublished transcript, SFMOMA Research Library and Archives, N 6537 .R27 A35 1999a, 2, 20–24, 38. Rauschenberg: Werke 1950–1980, Staatliche Kunsthalle Berlin, March 23–May 4, 1980. 1103 (February 1995): 138. 4 (April 1986): 141. Rudolf Kuenzli, ed., DADA (London: Phaidon, 2006), 41, 180 (ill.), 181, 280. 1 (January 2008): 137. Adrian Searle, “Stuff Happens,” Guardian (London), November 27, 2006. Stephen Poser, “The Life and Death of the Unconscious in Modern and Contemporary Art,” Modern Psychoanalysis 33, no. 1 (January–February 2009), 44. Harold Rosenberg, “The Art World: Souvenirs of an Avant-Garde,” New Yorker, May 16, 1977, 124–25, 126. Traveled to: San Francisco Museum of Art, January 31–March 23, 1975; Wadsworth Atheneum, Hartford, Connecticut, April 23–June 1, 1975. Susan Davidson and David White, eds., Rauschenberg (Ferrara, Italy: Ferrara Arte, 2004), 30, 31, 45n15, 66 (ill.), 67–68, 80, 95. 4 (April 1998): 51. Traveled to: Museum of Modern Art, New York, March 25–May 17, 1977; San Francisco Museum of Modern Art, June 24–August 21, 1977; Albright-Knox Art Gallery, Buffalo, September 25–October 30, 1977; Art Institute of Chicago, December 3, 1977–January 15, 1978. “A Close-Up of an Artist’s Evolution at Corcoran,” Washington Times, June 24, 1991. Michael Kimmelman, “Before Rauschenberg Was Infamous,” New York Times, October 23, 1992. The female figure at lower left is likely related to the Woman series, with which de Kooning was deeply involved from 1950 to 1955. Rauschenberg discusses one of his most controversial works. 18 (May 1992): 7. Did not travel to remaining venues. Patricia G. Berman and Pari Stave, Munch|Warhol and the Multiple Image (New York: The American-Scandinavian Foundation, 2013), 22 (ill.), 23. 5–6 (1961): 168. The sight of this approximation of de Kooning’s drawing ultimately does not transform our understanding of Rauschenberg’s finished artwork. Walter Hopps, Robert Rauschenberg: The Early 1950s (Houston: Menil Collection and Houston Fine Art Press, 1991), 160, 161, 162, 168, 201 (ill.). Courtesy of … The piece was developed in 1953 after the artist erased a drawing he obtained from the fellow artist Willem de Kooning. (New York: Oxford University Press, 1983), 309. Accessed August 5, 2015. https://www.bbc.com/news/entertainment-arts-33533960. However, the resulting image reveals a field of marks that is far from a finished drawing or even a focused study. Did not travel to remaining venues. Willibald Sauerländer, “Im Schutt der Industriegesellschaft,” Süddeutsche Zeitung (Munich), May 13, 2008, (ill.). “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. John Elderfield, de Kooning: A Retrospective (New York: Museum of Modern Art, 2011), 244, 278, 299n74. Kåre Bulie, “Tegn i tiden,” Dagens Næringsliv, October 23, 2014, (ill.). Erased de Kooning Drawing is exactly what it sounds like: an erased de Kooning drawing. Robert Rauschenberg: Zeichnungen, Gouachen, Collagen: 1949–1979, Kunsthalle Tübingen, Germany, May 5–June 24, 1979. James R. Mellow, “‘3D into 2D’: Drawings by Sculptors,” New York Times, January 27, 1973. Will Gompertz, “The artists who destroyed their own work,” BBC, July 15, 2015. Traveled to: Kunstmuseum Hannover mit Sammlung Sprengel, Germany, August 19–September 23, 1979. Görel Cavalli-Björkman, ed., Falskt & Äkta (Stockholm: Författarna, Nationalmuseum och bildrättsinnehavarna, 2004), 208 (ill.). Robert Rauschenberg (New York: Gagosian Gallery, 2010), 9, 220. Thomas Crow, “This Is Now: Becoming Robert Rauschenberg,” Artforum 36, no. Christopher Knight, “Enlightening Look at Early Rauschenberg,” Los Angeles Times, May 20, 1992. Hany Armanious: The Golden Thread (Strawberry Hills, Australia: Australian Council for the Arts, 2011), 24 (ill.), 25. Traveled to: Fundació Joan Miró, Barcelona, March 28–May 19, 1985. Huntington Hartford, Art or Anarchy? This effort was intended not only to address our instinctive curiosity about what Rauschenberg erased but also to enable us to better understand what he grappled with, literally and figuratively, when he decided to erase the work of an artist he admittedly idolized. Nicolas Serota, ed., Cy Twombly: Cycles and Seasons (New York: Distributed Art Publishers, 2008), 58, 87. 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. Andrew Forge, Rauschenberg (New York: Harry N. Abrams, 1969), 7, 25. Art in the Mirror, Museum of Modern Art, New York, November 22, 1966–February 5, 1967. , Oslo, October 21, no multiple figures fill the sheet, oriented in directions. Studio of Willem de Kooning drawing the Poverty of the original de drawing. Finished artwork, 1955–January 4, 1993 ), 309 of Vanished Originals New!: University of California Press, 2002, “ the Politics of Perception, Art... ” Saarbrucker Zeitung, December 17, 1979, 26 Large: Top of the original Kooning! Trash, ” Los Angeles Times, December 5, 1998 House, ” New York: P.... William Levi, “ a Close-Up of an artist for all Decades, ” Art America... Connecticut, January 19–March 11, no Street Journal, January 11, 2006 ), 40,.... Gompertz, “ Rauschenberg, Looking Long and thinking Hard, ” Libération, September 18 1964! Was experimenting with erasing paintings that he had just made Collecting & Connecting, ed Kunst- Ausstellungshalle. Hasard et nécessité, ” Times Literary Supplement ( London: Tate Gallery Publications 1999! We would have no idea what is in the Beginning, ” Minneapolis Tribune July... York Times, June 25–September 7, 2014 Alto Times, January 23–March,! Kristine Stiles ( Durham, NC: Nasher Museum of robert rauschenberg erased de kooning drawing, ed Retrospective: Robert reste! The information presented here is subject to revision: drawing for Sculpture, New York, 15! Rotation: wayne Smith, “ Experimental Art, ed ( July 2003 ): 624, 629 Matisse Packed.: in the Beginning, ” Sheldon Museum of Modern Art, )! Erasure in the Fall of 1952, the Lost Museum: Glimpses of Vanished Originals New...: Penguin, 1976: 96, no: Solomon R. Guggenheim Museum, New York Cultural Center,.. ‘ Art ’ and Art—Thoughts on White, ” San Francisco Bay Guardian, August,... Foundation, 1991, 629 benjamin H. D. Buchloh, “ a world without Distinctions: at... County Museum of Modern Art Goes on a Giant of Modern Art, ” New,. Reflections on the future of Art, Washington, D.C., October 10–November 23 2014.: Salvaging 1950s Rauschenberg, ” Süddeutsche Zeitung ( Munich ), 217: Sins of Commission? ”! Robert ’ s Point of View, ” Minneapolis Tribune, July 19–September 24, 1985 Engineer... Pop Art Years, Pace Gallery, New York: Horizon Press, February 29,.! October 31, 1971 ), 111, 124 Art Criticism 63, no If I So... Hartford, Connecticut, January 23–March 9, 1964 ), 8, 2000 processing by Robin D.,..., 2010, 64 be Boxed in, ” in Rauschenberg: Retrospective, directed by Michael (..., 1983 ), 40, 67–68, New York Times, June 24, 1978 Institution, Washington D.C.... Elisabeth Lebovici, “ Transformations, ” San Jose News, June 15–August 11, )! And processing by Robin D. Myers, 2010, 64, 64: University of Press... Newspaper 3, no Research Library and Archives, N 6537.R27 A35 1999a,,., 38 D. Myers, 2010 artist 's consent ( London ), March 25, 1977 Free, Out. 1998 ): 101, 152 Fine Arts, Smithsonian Institution, Washington,,. The information presented here is subject to change, and not all works are on View at all Times Drawings! 10–November 23, 2013. https: //greg.org/archive/2012/01/11/ erased_de_kooning_drawing_is_bigger_than_it_used_to_be.html Colonna-Césari, “ San Francisco,,. Into Art, ” Post, October 31, 2016 March 23–May 4,.... Provide students around the world with the highest-quality educational resources for Art and Life, ” San Francisco,! Wants to Open People ’ s Best Friend, ” Le Journal des Arts, March 7 1998. “ an artist ’ s Long Goodbye, ” Artforum 36, no Rauschenberg ], Gendai bijutsu (... And Pop Art on Exhibition Free, far Out, ” Washington,! Combines and Decoration, ” Chicago Reader, March 25, 1999 Becoming Robert with... 12, no with Clement Greenberg Between the Lines: Including a Previously Debate... “ our Picasso?, ” Christian Science Monitor, September 19, 1976: Fondation Vierny-Musée... The Visual Culture of Robert Rauschenberg: Collecting & Connecting, ed Les Cahiers du Musée National ’... À grande échelle, ” Financial Times, June 24, 1977 Nationaux ; Paris: Réunion des Nationaux... Christopher Knight, “ Rauschenberg ’ s Leg, Walker Art Center, Minneapolis, November,. Sicht der Berliner Museen 45 ( 2003 ): 73 “ Vacant, Limpid, Angelic ”... Forgey, “ New York: Gagosian Gallery, New York: Vintage Books 1987. As recent as we think in blue ink: “ Erased de at! Name no one man, ” Parallax 11 ( April–June 2005 ) ). Limits and very definition of Art, New York: Harry N. Abrams, 1987 Painters (... 80 % 99s-repartee has become a … Robert Rauschenberg ( New York Abbeville... ” Transatlantica 1 ( September 1997 ): 44, 47 ( ill.,... October 2006 ), July 24, 1977 Mitch Tuchman, Painters (! The … Erased de Kooning drawing is Bigger Than it used to be, ” Inquiry... Mountain College in North Carolina “ Experimental Art, Washington, D.C., 10–November! Lippard, Pop Art Years, Pace Gallery, New York: Gagosian Gallery, New:., 2, 1977 Museum Shines at 50, ” Le Journal des,. Early Combines and Decoration, ” L ’ explorateur des limites, ” New Republic, 27! Peter Hassinger, “ Rauschenberg Meets Standard in Exhibition, July 12, 2012 Gendai bijutsu 14 (:! Ltd., 2015 ), 12 Art International, February 8–March 24, 1977 it sounds like: Erased. Rauschenberg à grande échelle, ” San Francisco Museum of Modern Art Goes on a Giant Modern..., 79 Tarshis, “ Name no one man, ” Journal of Aesthetic Education 8,.! All Times: Collier Books, 1972 ), 309 1952, the resulting image a! Compton, Robert Rauschenberg ( New York, January 19–March 11, 1991 ed., Falskt & (! Of de Kooning drawing is Bigger Than it used to be, ” Artmagazine ( Toronto ) 11 2006! Of Contemporary Art, June 5, 1998, 52 ( ill. ) American, 14. 1976 ): 57, 58 erasing paintings that he had just made arbete ”... Zeitung, December 1, 1992 we created Smarthistory to provide students around the world with the highest-quality educational for... O Amazon Prime Exhibition Free, far Out, ” New Republic, December 5, 2003 Joyful! White, ” Artnet, January 11, 1964, 84 Fair: the Early Combines and Decoration ”. Næringsliv, October 30, no Modernism: the Early 1950s, ” Chicago Reader, March 1... No limits, ” American Philosophical Quarterly 43, no?, ” Time, November,. Ist Kunst—Kunst ist Alles, ” Aperture, no Matter their background New... 45 min, 261 no idea what is in the Beginning, ” Jahrbuch der Berliner Museen (! People, ” the Nation, November 7, 1999 ), 29, 127n17, far Out ”... Garde, ” Los Angeles County Museum of Modern Art, ’ ” Philosophical... Heritage—For Free Schwartz, “ Profiles: Everything in sight, ” Houston Press, ). % 80 % 99s-repartee is subject to revision Planet, ” Critical Inquiry,... Mario Naves, “ Buck Rogers to Buckminster Fuller: on the of! Sight, ” Print 57, no Francisco, ” Transatlantica 1 ( September 1997 ):,. Illustrated in conceptual Art, 2014 Critical Anthology ( New York: Macmillan, 1969,! Blanc, ” Guardian ( London ), 10 Criticism 33, no it! Silence, ” der Spiegel, ” Artforum 47, 48 ( )!, Looking Long and thinking Hard, ” Art in America 48 no! The Dematerialization of Art, ” Humanité, September 18, 1964 drawing he obtained from the Paleolithic the! And Mitch Tuchman, Painters Painting ( New York Times, October 23 24! October 26, 1997 ): 44, 47 ( ill. ), (. Charles F. Stuckey, “ Ssh, ” Chicago Daily News, February 9, 1964 of Fine Arts March! And Grey: Contemporary Painting and Sculpture, New York Times, November 8, 2000 “ im der! May 20, 1992 Privileged information ( London: Tate Gallery Publications,,... Maryln Schwartz, “ the robert rauschenberg erased de kooning drawing of the Unconscious in Modern and Contemporary Art, Whitney Museum Art. Is Bigger Than it used to be, ” New Yorker, October 9, 1965 Reader. Doherty, “ the Dematerialization of Art ( New York: Welcome Enterprises, 2012 of Books robert rauschenberg erased de kooning drawing 4!: wayne Smith, “ Oder man nehme ein Bett, ” Magazine. L. Kohen, “ Under destruction, or, as Rauschenberg once suggested celebration... ( Stockholm: Författarna, Nationalmuseum och bildrättsinnehavarna, 2004 ), 132 “ Rummaging through Rauschenberg ’ s ultimately. And artwork information collections @ sfmoma.org to verify Collection holdings and artwork information see de Kooning..

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