robert rauschenberg erased de kooning drawing

Thierry de Duve, Clement Greenberg between the Lines: Including a Previously Unpublished Debate with Clement Greenberg, trans. Traveled to: University of Michigan, Ann Arbor, November 11–December 13, 1964; Grand Rapids Art Museum, Michigan, January 10–February 7, 1965; University Gallery, Northrop Auditorium, University of Minnesota, Minneapolis (as Contemporary American Drawings), February 24–March 24, 1965; Seattle Art Museum, Washington, April 8–May 2, 1965; Denver Art Museum, Colorado, June 6–July 3, 1965; Dallas Museum of Fine Arts, July 25–August 22, 1965; Columbus Gallery of Fine Arts, Ohio, September 16–October 10, 1965; Krannert Art Museum, University of Illinois, Urbana–Champaign, November 14–December 5, 1965. Please review our Terms of Use for more information. Carroll Janis, “Marcel Duchamp Curates Dada,” Art in America 94, no. 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.). Treasures of Modern Art: The Legacy of Phyllis Wattis at SFMOMA, San Francisco Museum of Modern Art, January 30–June 24, 2003. 4 (December 2010): 356. Kenneth Baker, “Rauschenberg’s Reality,” San Francisco Chronicle, August 20, 1998, (ill.). Kristine Stiles, “Rauschenberg, Looking Long and Thinking Hard,” in Rauschenberg: Collecting & Connecting, ed. At first inspection, its meaning and import are utterly opaque, impossible even to speculate upon. Nicolas Serota, ed., Cy Twombly: Cycles and Seasons (New York: Distributed Art Publishers, 2008), 58, 87. 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. Drawing Now, Museum of Modern Art, New York, January 23–March 9, 1976. Accessed June 23, 2013. https://galleryoflostart.com/#/0,4/. In the early 1950s, Rauschenberg was already gaining a reputation as the art world’s enfant terrible with works such as Erased de Kooning Drawing (1953), for which he requested a drawing (as well as permission) from Willem de Kooning, and proceeded to rub away the image until only ghostly marks remained on the paper. Marc Pitzke,” Alles ist Kunst—Kunst ist alles,” Der Spiegel, May 14, 2008. Accessed April 2, 2015. https://interventionsjournal.net/2015/01/23/a-radical-disregard-for-the-preservation-of-art-robert-rauschenbergs-elemental-paintings/. Barbara Pollack, “Under Destruction,” ARTnews 111, no. Grace Glueck, “Art People,” New York Times, March 25, 1977. 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. Calvin Tomkins, The Bride and the Bachelors: Five Masters of the Avant-Garde (New York: Penguin, 1976): 210–11. The artist Robert Rauschenberg thought destroying a work by Willem de Kooning was ‘not a negation, it’s a celebration.’ The art world was divided. 10 (November 2010): 128 (ill.), 132. Nicolas Calas, Art in the Age of Risk, and Other Essays (New York: E. P. Dutton, 1968), 182. Westkunst: Zeitgenössische Kunst seit 1939, Rheinhallen KölnMesse (organized by Museen der Stadt Köln), Cologne, Germany, May 30–August 16, 1981. Alan Solomon, New York: The New Art Scene (New York: Holt, Rinehart and Winston, 1967), 42. How Robert Rauschenberg erased a Willem de Kooning and created a landmark of postmodernism. 4 (July 2003): 52, 55. Robert Krulwich, “Two Ways To Think about Nothing,” Krulwich Wonders (National Public Radio blog), March 13, 2012. Mary Jane Jacob and Jacquelynn Bass (Chicago: School of the Art Institute of Chicago; Berkeley: University of California Press, 2009), 132, 133 (ill.), 134. Mark Stevens and Annalyn Swan, eds., de Kooning: An American Master (New York: Alfred A. Knopf, 2004), 359–60, 455. Jeffrey Kastner, “Houston: Sins of Commission?,” ARTnews 97, no. Übrigens sterben immer die anderen: Marcel Duchamp und die Avantgarde seit 1950 (Cologne: Museum Ludwig, 1988), 245, 331. 1103 (February 1995): 138. 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. Jonathan D. Katz, “The Outness of Rauschenberg’s Art,” Gay & Lesbian Review 15 (September–October 2008): 10. 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. Sounds ridiculous.… Richard Kostelanetz, Master Minds: Portraits of Contemporary American Artists and Intellectuals (New York: Macmillan, 1969), 269. Judith L. Dunham, “Rauschenberg’s Retrospective—Works Worth the Reading,” Artweek, July 30, 1977, 20. Kenneth Baker, “A ’50s Look at Robert Rauschenberg,” San Francisco Chronicle, May 15, 1992. Robert Rauschenberg, Erased de Kooning Drawing, 1953, traces of drawing media on paper with label and gilded frame, 64.14 cm x 55.25 cm (© Robert Rauschenberg Foundation, SFMOMA) That’s right, the Erased de Kooning Drawing is… an erased drawing by Willem de Kooning. Jenna Sauers, “Burning a Birkin Is Not ‘Art,’” Jezebel, May 30, 2012. Jennifer Mundy, Lost Art (London: Tate, 2013), 174 (ill. of infrared scan), 175–77, 178 (ill.). Jen Scoville, “Rauschenberg’s Repartee: Facetious Facets of the Retrospective in Houston,” Texas Monthly, 1998. 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. Traveled to: San Francisco Museum of Art, January 31–March 23, 1975; Wadsworth Atheneum, Hartford, Connecticut, April 23–June 1, 1975. Paul Wood, ed., Varieties of Modernism (New Haven, CT: Yale University Press, 2004), 273, 276, 277 (ill.). Harold Rosenberg, Artworks and Packages (New York: Horizon Press, 1968), 24, 25 (ill.), 26. 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. 3 (March 1976): 10. William Kentridge (Chicago: Museum of Contemporary Art, 2001), 20 (ill.), 21. Leo Steinberg, “Reflections on the State of Criticism,” Artforum 10, no. Ana Pato, Literatura Expandida: Arquivo e Citação na Obra de Dominique Gonzalez-Foerster (São Paulo: Ediçeõs SES, 2013), 90 (ill.), 91, 92, 122. Anaël Lejeune, Olivier Mignon, and Raphaël Pirenne (Brussels: Continental Rift, 2012), 89, 90 (ill.), 91, 92, 123, 125, 189. James Meyer, Minimalism: Art and Polemics in the Sixties (New Haven, CT: Yale University Press, 2001), 77. Richard Kostelanetz, “The Artist as Playwright and Engineer,” New York Times, October 9, 1966, 122, 124. Accessed June 23, 2013. https://www.artnet.com/Magazine/reviews/finch/finch12-8-00.asp#6. Daniel A. Siedell, “The Visual Culture of Robert Rauschenberg,” Sheldon Museum of Art Catalogues and Publications, 1999. Katrina Fried (New York: Welcome Enterprises, 2012), 135. Enid Tsui, “From Beijing via Hong Kong to London, it’s the year of Robert Rauschenberg,” South China Morning Post, May 15, 2016. 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. David Bonetti, “Rauschenberg Coup Cements SFMOMA’s Ascendance,” San Francisco Examiner, May 28, 1999. Charlie Finch, “Rauschenberg’s Long Goodbye,” Artnet, December 8, 2000. The … Franklin Philip (New York: Columbia University Press, 1994), 97. Lynne Cooke, “Robert Rauschenberg: The Early 1950s,” Burlington Magazine 134, no. Lorraine Haacke, “‘Happening’ Underway for Television Age,” Dallas Times Herald, December 19, 1976. Calvin Tomkins, Off the Wall: Robert Rauschenberg and the Art World of Our Time (Garden City, NY: Doubleday, 1980), 96–97, 299. Robert Rauschenberg: Selections, Fort Worth Art Center Museum, Fort Worth, Texas, January 5–February 2, 1969. Judith Aminoff (Paris: Musée d’Art Moderne de la Ville de Paris, 1989), 15, 21, 223 (ill.). Craig Dworkin, No Medium (Cambridge, MA: MIT Press, 2013), 20, 41–42, 43, 44–45, 168, 189n8, 190n9. 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. Territorium Artis, Kunst- und Ausstellungshalle der Bundesrepublik Deutschland, Bonn, Germany, June 19–September 20, 1992. See more ideas about Drawings, Erased de kooning drawing, Robert rauschenberg. The Menil Collection: A Selection from the Paleolithic to the Modern Era, 1st ed. Willibald Sauerländer, “Im Schutt der Industriegesellschaft,” Süddeutsche Zeitung (Munich), May 13, 2008, (ill.). John Paul Ricco, “Name No One Man,” Parallax 11 (April–June 2005): 95–102. Walter Hopps, Robert Rauschenberg: The Early 1950s (Houston: Menil Collection and Houston Fine Art Press, 1991), 160, 161, 162, 168, 201 (ill.). 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. 6 (June 2012): 65. Bernice Rose, Robert Rauschenberg (Paris: Réunion des Musées Nationaux; Paris: Fondation Dina Vierny-Musée Maillol, 2002), 18. Kristine Stiles (Durham, NC: Nasher Museum of Art, 2014), 16; online edition (ill.). Traces—Body and Idea in Contemporary Art (Kyoto, Japan: National Museum of Modern Art, 2004), 17 (ill.), 20, 318, 321. 1 (September 1982): 43 (ill.), 46. Brian O’Doherty, “Vanity Fair: The New York Art Scene,” Newsweek, January 4, 1965, 58. Adrian Searle, “Stuff Happens,” Guardian (London), November 27, 2006. And read its full exhibition and publication history: it’s clear that this unassuming object is much in demand. Tim Marlow, “Robert Rauschenberg,” Tate: The Art Magazine 16 (Winter 1998): 46. Michael Newman, “Rauschenberg Re-Evaluated,” Art Monthly no. Brian Holmes (Paris: Éditions Dis Voir, 1996), 74, 79. Whitney Chadwick and Isabelle de Courtivron, eds., Significant Others: Creativity and Intimate Partnership (New York: Thames and Hudson, 1993), 196. Discussion of Erased de Kooning begins at 11:14 min. Eine kunsthistorische Sicht der Berliner Bilder,” Jahrbuch der Berliner Museen 45 (2003): 240 (ill.). Will Gompertz, “The artists who destroyed their own work,” BBC, July 15, 2015. Charles F. Stuckey, “Reading Rauschenberg,” Art in America 65, no. Emile de Antonio and Mitch Tuchman, Painters Painting (New York: Abbeville Press, 1984), 91–92. Irving H. Sandler, The New York School: The Painters and Sculptors of the Fifties (New York: Harper & Row, 1978), 173n46, 177. Robert M. Adams, The Lost Museum: Glimpses of Vanished Originals (New York: Viking Press, 1980), 11. 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.). Carol Vogel, “Inside Art: Left Their Art in San Francisco,” New York Times, June 5, 1998. Benjamin H. D. Buchloh, “Allegorical Procedures: Appropriation and Montage in Contemporary Art,” Artforum 11, no. Now You See It (Aspen, CO: Aspen Art Museum, 2008), 16 (ill.). 7 (Summer 2006): 55. 2 (Spring 1977): 1. Michael Barnes, Shermakaye Bass, Christopher Schade, and Jeanne Claire Van Ryzin, “Art Log: The Road to Rauschenberg, A Critical Junket,” Austin American-Statesman (Texas), March 26, 1998. The American Century: Art and Culture 1900–2000, Part II, 1950–2000, Whitney Museum of American Art, New York, September 26, 1999–February 13, 2000. Produced for the Menil presentation only. 4 (October 1974), 14. Accessed August 5, 2015. https://www.bbc.com/news/entertainment-arts-33533960. 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. Yve-Alain Bois, Arne Glimcher, March Glimcher, et al., 50 Years at Pace (New York: Pace Gallery, 2010), 157 (ill.). 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. Both de Kooning and Pollock had forged a radically new style of abstract painting, and de Kooning would become particu… Jan Marontate, “Rethinking Permanence and Change in Contemporary Cultural Preservation Strategies,” Journal of Arts Management, Law, and Society 34, no. Sebastian Smee, “Critic’s Notebook: Rose Art Museum Shines at 50,” Boston Globe, November 6, 2011. From 1951 to 1953, Robert Rauschenberg made a number of artworks that explore the limits and very definition of art. 45 (September/October 1979): 42. Art about Art, Whitney Museum of American Art, New York, July 19–September 24, 1978. San Francisco Museum of Modern Art, purchase through a gift of Phyllis Wattis, 1998. Franz Schulze, “Rauschenberg’s Cheerful Cheek,” Chicago Daily News, December 3–4, 1977. 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). Michael Kimmelman, “Before Rauschenberg Was Infamous,” New York Times, October 23, 1992. Robert Rauschenberg, “Robert Rauschenberg on the Erased de Kooning Drawing,” Brick 72 (Winter 2003), 34 (ill.), 35. Art in the Mirror, Museum of Modern Art, New York, November 22, 1966–February 5, 1967. Tijs Goldschmidt, Kloten van de engel: Beschouwingen over de natuurlijkheid van cultuur (Amsterdam: Athenaeum—Polak & Van Gennep, 2007), 6 (ill.), 8. An interconnected world is not as recent as we think. However, the resulting image reveals a field of marks that is far from a finished drawing or even a focused study. Jerry Saltz, “Our Picasso?,” Artnet, January 11, 2006. 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. Traveled to: Fundación Caja de Pensiones, Madrid (as Arte conceptual, una perspectiva), March 12–April 29, 1990. Francis M. Naumann, “The Legacy of Marcel Duchamp,” Burlington Magazine 137, no. Henry J. Seldis, “‘Mirror’ Exhibit Unrevealing,” Los Angeles Times (Calendar), July 2, 1967. In 2010 SFMOMA used a range of digital capture and processing technologies to enhance the remaining traces of the original de Kooning drawing. 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