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Books : Arts & Photography : Artists, A-Z : ( P-R ) : Rauschenberg, Robert
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Calvin Tomkins first discovered the work of Robert Rauschenberg in the late 1950s, when he began to look seriously at contemporary art. While gazing at Rauschenberg's painting Double Feature, Tomkins felt compelled to make some kind of literal connection to the work, and it is in that sprit that "for the last forty years it's been [his] ambition to write about contemporary art not as a critic or a judge, but as a participant." Tomkins has spent many of those years writing about Robert Rauschenberg, whom he rapidly came to see as "one of the most inventive and influential artists of his generation." So it seemed natural to make Rauschenberg the focus of Off the Wall, which deals with the radical changes that have made advanced visual art such a powerful force in the world.
Off the Wall chronicles the astonishingly creative period of the 1950s and 1960s, a high point in American art. In his in his collaborations with Merce Cunningham and John Cage, and as a pivotal figure linking abstract expressionism and pop art, Rauschenberg was part of a revolution during which artists moved art off the walls of museums and galleries and into the center of the social scene. Rauschenberg's vitally important and productive career spans this revolution, reaching beyond it to the present day. Featuring the artists and the art world surrounding Rauschenberg--from Jackson Pol
Robert Rauschenberg made a tremendous impact on Modern art in the twentieth century. As a pioneer of Pop art, he was a key figure in the postwar tradition that brought American art to the forefront of the international scene. This new volume in the MoMA Artist Series, which explores important artists and favorite works in the collection of The Museum of Modern Art, guides readers through a dozen of the artist's most memorable achievements. A short and lively essay by Carolyn Lanchner, a former curator of painting and sculpture at the Museum, accompanies each work, illuminating its significance and placing it in its historical moment in the development of Modern art and the artist's own life. This volume provides a unique overview of someone who shaped the development of American art since mid-century and is an excellent resource for readers interested in the stories behind the masterpieces of the Modern canon.
Poetic and lush, Robert Rauschenberg's Combines present layers of complex and sometimes conflicting information. This approach, first explored by Rauschenberg in the early 1950s, proved prescient and has become increasingly relevant in the current age of cascading information, when even the most ground-breaking artists are referencing and sampling disparate elements to create new forms. The Combines suggest the fragility of definitions, the fluidity of materials and the complexity of forms that are characteristic of Rauschenberg's works. The artist's handling of materials provides a precise physical evolutionary link between the painterly qualities of Abstract Expressionism and iconographical, subject-driven early Pop art. This book focuses on the works created roughly between 1954 and 1964, the most important decade in the artist's 50-year career, and constitutes the most complete survey of the Combines ever presented, as well as the most rigorous analysis of their political, social, autobiographical and aesthetic significance. An introductory essay by exhibition curator Paul Schimmel titled "Reading Rauschenberg" offers an iconographic analysis of the earlier Combines, based on in-depth conversations with the artist. Other texts help to contextualize the Combines, such as Thomas Crow's essay that calls them the major artistic statement of their time,
An essential volume on the work of Robert Rauschenberg, this relevatory selection of rarely seen masterworks is curated in collaboration with the artist s estate and includes an extensive chronology. In a career of nearly sixty years, Robert Rauschenberg changed the course of art history, art making, and viewers' experience of art. An artist of protean creativity, he transformed the mediums of sculpture, painting, prints, and photography. He elevated seemingly casual, everyday images and embraced discarded and found materials, reintroducing content to art after decades when abstraction held sway. This book covers the full span of the artist's career, from 1950 to 2007, focusing on key works from the collection of the artist's estate, including many that have not been shown since they were first made and exhibited more than thirty years ago, as well as masterpieces that have recently been seen in museum exhibitions. Texts by James Lawrence and John Richardson are accompanied by more than sixty colour plates and over fifty black-and-white historical photographs. Also featured is an extensive chronology by Susan Davidson detailing the artist's life and career that will become a fundamental reference for students of Rauschenberg's influential oeuvre.
Between 1888 and 1927 Eugne Atget meticulously photographed Paris and its environs, capturing in thousands of photographs the city's parks, streets, and buildings as well as its diverse inhabitants. His images preserved the vanishing architecture of the ancien rgime as Paris grew into a modern capital and established Atget as one of the twentieth century's greatest and most revered photographers.Christopher Rauschenberg spent a year in the late '90s revisiting and rephotographing many of Atget's same locations. Paris Changing features seventy-four pairs of images beautifully reproduced in duotone. By meticulously replicating the emotional as well as aesthetic qualities of Atget's images, Rauschenberg vividly captures both the changes the city has undergone and its enduring beauty. His work is both an homage to his predecessor and an artistic study of Paris in its own right. Each site is indicated on a map of the city, inviting readers to follow in the steps of Atget and Rauschenberg themselves. Essays by Clark Worswick and Alison Nordstrom give insight into Atget's life and situate Rauschenberg's work in the context of other rephotography projects. The book concludes with an epilogue by Rosamond Bernier as well as a portfolioof other images of contemporary Paris by Rauschenberg. If a trip to the city of lights is not in your immediate future, this luscious portrait of Paris the
Robert Rauschenberg's engagement with photography began in the late 1940s under the tutelage of Hazel Larsen Archer at Black Mountain College in North Carolina. This exposure (or experience) was so great that for a time Rauschenberg was unsure whether to pursue painting or photography as a career. Instead, he chose both, and found ways to fold photography into his Combines, maintained a practice of photographing friends and family, documented the evolution of artworks and occasionally dramatized them by inserting himself into the picture frame. As Walter Hopps wrote, "The use of photography has long been an essential device for Rauschenberg's melding of imagery... [and] a vital means for Rauschenberg's aesthetic investigations of how humans perceive, select and combine visual information. Without photography, much of Rauschenberg's oeuvre would scarcely exist." The artist himself affirmed, "I've never stopped being a photographer." This volume gathers and surveys for the first time Rauschenberg's numerous uses of photography. This publication includes portraits of friends such as Cy Twombly, Jasper Johns, Merce Cunningham and John Cage, studio shots, photographs used in the Combines and Silkscreen paintings, photographs of lost artworks and works in process. This allows us to re-imagine almost the entirety of the artist's output in light of his always inventive uses
Throughout his illustrious career, Robert Rauschenberg has consistently challenged the prevailing ideologies and techniques of the art world. One of our greatest American artists, he redefined what materials were suitable for art, boldly rebelling against the predominant abstract expressionism of the time. This insightful analysis into Rauschenberg's work and life examines his bravery in pushing beyond technical and aesthetic frontiers as well as his influential dissemination of photography, film, and television, which altered the genre of traditional painting.
Rauschenberg's seminal works--from his "combines" (urban trash on painted surfaces) to his silk screens--are reproduced here in full color. The author also discusses some of the artist's more recent projects, including ROCI, Rauschenberg's own exhibition organization that showcases diverse artists from all over the world. Through beautiful photography and authoritative text, here is a well-rounded overview of one of the world's most pivotal artists.
A revised edition of a retrospective on the Venice Biennale grand prize-winning artist incorporates the last ten years of his career including his retrospective exhibition at the Guggenheim in 1997, in a lavishly illustrated portrait that traces his early years, the creation of his famous combines, his work with new technologies, and the establishm
Says more, and says it more entertainingly, about one phase of contemporary art than any other book I know." John Canaday
In the late 1940s, several prominent artists of the New York School--among them Robert Rauschenberg, Ad Reinhardt, Mark Rothko and Frank Stella--were intently studying the color black. That work, interrelated but not collaborative, resulted in an astonishing number of almost monochromatic black paintings, which today are considered treasures of many major collections, including the Whitney Museum of American Art's. For the first time, Black Paintings gathers all of the best of the title artist's black works together: textured black, striped black, blue-black, brown-black, black-black. In thorough illustration and thoughtful analysis, it sheds light on the differences between these postwar works as well as their commonalities. For Frank Stella and Robert Rauschenberg, black was a way to disappear into something new, a way to a new artistic vocabulary. For Mark Rothko, it stood for emptiness and nothingness; it asked the spectator to reflect back on it. For Ad Reinhardt, it offered denial and invisibility. Each artist's black portfolio reflects a breakthrough or transition in his own work, and, combined, they represent a larger moment of transition. The Black Paintings marked both a beginning and an end: the end of painting as illusion, as a window onto the world, and the beginning of painting as the mode for the creation of self-sufficient perceptual objects--a change that g
Robert Rauschenberg (b. 1925) began to investigate the boundaries between painting and sculpture in the 1950s, working with a variety of found objects in his Combine paintings and freestanding Combines. Later, in his Cardboard series (1971--72), he confined himself to the use of cardboard boxes, eliminating virtually all imagery, reducing the palette to a near monochrome, and commenting in subtle ways on the materialism and disposability of modern life. This book is the first to focus exclusively on Rauschenberg’s rarely seen Cardboards, along with related works from his Made in Tampa Clay, Cardbirds, Egyptian, and Venetian series.
Approximately eighty-eight Cardboards and related sculptural pieces, many from the artist’s personal collection, are reproduced in the book. Full provenance and exhibition history are provided for each work, along with a complete bibliography. In addition, distinguished scholar Yve-Alain Bois offers an insightful essay that discusses the Cardboards and situates these lesser-known but critical pieces within the context of Rauschenberg’s long and creative career.
From the moment art historian Leo Steinberg championed his work in opposition to Clement Greenberg?s rigid formalism, Robert Rauschenberg has played a pivotal role in the development and understanding of postmodern art. Challenging nearly all the prevailing assumptions about the visual arts of his time, he pioneered the postwar revival of collage, photography, silkscreen, technology, and performance.This book focuses on Rauschenberg?s work during the critical period of the 1950s and 1960s. It opens with a newly prefaced version of Leo Steinberg?s "Reflections on the State of Criticism," the first published version of his famous 1972 essay, "Other Criteria," which remains the single most important text on Rauschenberg. Rosalind Krauss?s "Rauschenberg and the Materialized Image" builds on Steinberg?s essay, arguing that Rauschenberg?s work represents a decisive shift in contemporary art. Douglas Crimp?s "On the Museum?s Ruins" examines Rauschenberg?s silkscreens in the context of the modern museum. Helen Molesworth?s "Before Bed" uses psychoanalytic and economic structures to examine the artist?s Black Paintings of the early 1950s. A second essay by Krauss, "Perpetua
Robert Rauschenberg is one of the most prolific and best-known artists of the post-war period, whose work, ranging across a number of disciplines, has influenced avant-garde art since the 1950s. Rauschenberg has allowed Robert Mattison into his studio to observe the artist at work and this resulting work examines selected projects in depth so that the meaning of his art, his working procedures, and the reasons behind his various artistic choices may be better understood. The text covers the influence of urbanism on Rauschenberg's "Combine" paintings of the 1950s and explores his involvement with the "space race" during the 1960s and 1970s, relating his works to popular culture and demonstrating the development of his ideas about the peaceful exploration of space. Mattison examines Rauschenberg's extensive involvement in the performing arts, tracing his connections to avant-garde dance in America, addressing his own performances, and focusing on his work with the well-known choreographer Trisha Brown. The final chapter examines Rauschenberg's most extensive artistic undertaking, the Rauschenberg Overseas Culture Interchange (ROCI). One venue of this seven-year and 11-country project was Chile, which Rauschenberg visited while the country was under the rule of the dictator, Augusto Pinochet. The author shows how in dangerous political circumstances Rauschenberg was able to execute and exh
One of America's most important artists, Robert Rauschenberg consistently fuses painting, found art, photography and printing in his works. This book brings together 60 of Rauschenburg's most exciting posters. Arranged thematically and chronologically, the posters display the full range of Rauschenberg's stylistic development from the 1960s to the 1990s. Since 1963 the artist has been designing posters to advertise his own exhibitions, music and dance performances, and to address sociopolitical issues. This volume features full page, colour reproductions that allow the viewer to truly appreciate the complexity, ambiguity and incredible scope of Rauschenberg's oeuvre.
Robert Rauschenberg is one of the most important visual artists of the second half of the twentieth century. In Random Order, Branden Joseph examines Rauschenberg's work in the context of the American neo-avant-garde. One of the foundations of his study is Rauschenberg's professional relationship with experimental composer John Cage. From the moment of their encounter at Black Mountain College in 1952, Joseph argues, Rauschenberg and Cage initiated a new avant-garde project, one that approached the idea of difference not in terms of negation but as a positive force. Claiming that Rauschenberg's work cannot be understood solely from the standpoint of the Frankfurt School--whose theories have dominated discussions of avant-garde and neo-avant-garde aesthetics--Joseph turns to the theoretical positions of Gilles Deleuze and Jacques Derrida. Rauschenberg's neo-avant-garde was not a simple repetition of earlier avant-garde movements, Joseph shows, but a series of practices that opposed the rise of postwar spectacle, commodification, and mass conformity.Beginning with the White Paintings, Joseph examines Rauschenberg?s artistic development from 1951 to 1971. He looks at
In a career that has spanned nearly 50 years, Robert Rauschenberg has redefined the art of our time. Once branded the "bad boy" of American modernism, Rauschenberg has taken a revolutionary approach to traditional art forms and worked in an extraordinarily diverse range of mediums. This volume, which explores the entire scope of his achievement, accompanies the first retrospective exhibition of Rauschenberg's work held since 1976, opening at the Guggenheim Museum, New York, in September 1997 and traveling to Houston in early 1998 and then to Europe and Asia.Four essays by leading scholars and curators interpret and analyze Rauschenberg's art while emphasizing his unique contribution across disciplines. Two essays by former collaborators provide insight into his involvement with avant-garde performance and technology. And more than 500 illustrations reproduce Rauschenberg's challenging art, from his revolutionary all-white paintings and acclaimed Combines to prints, photographs, and the recent overseas projects that Rauschenberg has pursued in the belief that art and collaboration have the power to bring about social change.
This comprehensive book, which includes an illustrated chronology of Rauschenberg's life and work and up-to-date exhibition and performance histories, will be the essential monograph on Robert Rauschenberg.