Robert Indiana Art Some Tecneks That He Used in His Artwork

"Painting relates to both fine art and life. Neither can exist made."

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"I really experience sorry for people who remember things like soap dishes or mirrors or Coke bottles are ugly because they're surrounded by things like that all day long, and information technology must make them miserable."

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"I usually work in a management until I know how to practise it, then I stop. At the time that I am bored or understand - I use those words interchangeably - another appetite has formed. A lot of people try to recollect up ideas. I'm not 1. I'd rather accept the irresistible possibilities of what I can't ignore."

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"There is no reason not to consider the world every bit one gigantic painting."

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"There was a whole language that I could never brand role for myself in relationship to painting and that was attitudes like tortured, struggle, pain."

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"I did a twenty pes print and John Muzzle is involved in that because he was the only person I knew in New York who had a machine and who would be willing to do this."

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Summary of Robert Rauschenberg

Considered by many to be one of the most influential American artists due to his radical blending of materials and methods, Robert Rauschenberg was a crucial effigy in the transition from Abstract Expressionism to later modern movements. One of the key Neo-Dada movement artists, his experimental approach expanded the traditional boundaries of art, opening up avenues of exploration for future artists. Although Rauschenberg was the enfant terrible of the art world in the 1950s, he was securely respected and admired past his predecessors. Despite this admiration, he disagreed with many of their convictions and literally erased their precedent to move frontwards into new aesthetic territory that reiterated the earlier Dada research into the definition of art.

Accomplishments

• Engaged in questioning the definition of a work of art and the role of the creative person, Rauschenberg shifted from a conceptual outlook where the accurate mark of the brushstroke described the creative person's inner earth towards a reflection on the contemporary world, where an interaction with popular media and mass-produced goods reflected a unique artistic vision.
• Rauschenberg merged the realms of kitsch and fine art, employing both traditional media and establish objects within his "combines" by inserting appropriated photographs and urban detritus among standard wall paintings.
• Rauschenberg believed that painting related to "both art and life. Neither can be made." Following from this belief, he created artworks that movement betwixt these realms in constant dialogue with the viewers and the surrounding world, equally well as with art history.
• Preferring to leave the interpretation of the works to his viewers, Rauschenberg immune chance to determine the placement and combination of the different establish images and objects in his artwork such that there were no predetermined arrangements or meanings embedded within the works.

Biography of Robert Rauschenberg

Robert Rauschenberg was built-in Milton Ernest Rauschenberg in the small refinery town of Port Arthur, Texas. His father, Ernest, was a strict and serious man who worked for the Gulf Country Utilities ability company. His female parent, Dora, was a devout Christian and a frugal woman. She made the family unit'southward clothes from scraps, a practise that embarrassed her son, but maybe influenced his afterward work with collage and aggregation. Rauschenberg drew frequently and copied images from comics, but his talent as a draughtsman went largely unappreciated, except by his younger sister Janet. Until he was xiii, he planned to get a minister - a career of loftier continuing in his conservative community. Nonetheless, Rauschenberg discovered that his church called dancing a sin, and, as a skilled dancer himself, was dissuaded from a career in the ministry building. He asked for and received a store-bought shirt for his loftier school graduation present, the very first in his young life.

Important Art past Robert Rauschenberg

Progression of Art

1951

White Paintings

Originally viewed equally a scandalous swindle, Rauschenberg's White Paintings were an early codification of the creative ideals that dominated his entire oeuvre. The White Paintings currently be in five different permutations of multi-paneled canvases, which Rauschenberg intentionally left free of any mark of the artist's hand. By removing any gesture, the works could be, and were, re-fabricated past his friends and assistants, including fellow artists from Cy Twombly to Brice Marden. This removal of an authorial mark presaged both the mechanical advent of Andy Warhol's silkscreened works and the slick surfaces of Ad Reinhardt'south Abstract Paintings (1952-67), while likewise hearkening back to before modernist works like the monochromatic paintings of Russian Constructivist Alexander Rodchenko. The seemingly blank canvases, evenly coated in white house pigment, serve as a backdrop that activates as viewers approach, coming alive with their shadows while also reflecting the light and sounds of the room they occupy. Thus, Rauschenberg succinctly allowed the "discipline matter" of the White Paintings to shift with each new audition and new setting, and illustrated his interest in aleatory, or chance, processes in fine art, while also questioning the role of the creative person in determining the meaning, or subject, of a work of art.

The White Paintings were initially exhibited in the dining hall of Black Mountain College in the summer of 1952 equally a properties for The Event (Cage'due south Theatre Piece no. ane) - a multimedia performance combining poetry reading, trip the light fantastic, music determined by aleatory processes. During the functioning, iv panels of the White Paintings were suspended from the ceiling in the form of a cross with films and slides projected on them. While Charles Olsen and M. C. Richards read their poetry, Merce Cunningham danced through the audience, David Tudor played Cage'southward music on the piano, John Cage lectured on Meister Eckhart and Zen, and Rauschenberg himself played wax cylinders of old Edith Piaf records on an old Edison horn recorder.

Latex paint on canvas - SFMOMA

1953

Erased de Kooning Drawing

In the early 1950s, Rauschenberg explored the boundaries and the definition of fine art, following from the radical modernist precedent set by Marcel Duchamp'south earlier Dada readymades. In this "drawing," he set out to detect if erasure, or the removal of a mark, constituted a piece of work of art. He realized in club for the piece to succeed, he required an already notable work of art. Willem de Kooning was an established, leading effigy in the New York art world when the young Rauschenberg asked him for a drawing that he could erase. De Kooning somewhen acquiesced to Rauschenberg's request, albeit reluctantly. He intentionally made Rauschenberg's act of erasure difficult by deliberately choosing a heavily marked drawing filled with charcoal and pencil. Rauschenberg needed 2 months, and dozens of erasers, to complete the herculean chore of erasing the drawing; even later on he finished, traces of De Kooning'southward piece of work were still present. Through the erasure of De Kooning's drawing, Rauschenberg acknowledged his adoration for his predecessor, only likewise signaled a movement away from Abstract Expressionism. He framed the erased drawing within a simple, gilded frame, with a mat bearing an inscription typed by Jasper Johns that identified the significance of the seemingly empty paper. The absent-minded drawing is presented equally an art object, designating the deed of erasure as belonging to the realm of fine art - a typically Neo-Dada deed of questioning the definition and import of the art object.

Traces of drawing media on paper with label and gilded frame - San Francisco Museum of Modern Art

1953

Car Tire Impress

Another collaboration betwixt Rauschenberg and John Muzzle, this print redefined the medium for the twenty^th century in a fatalistically Neo-Dada fashion. Rauschenberg glued together xx sheets of typewriter newspaper into a continuous scroll, and laid them out on an empty Fulton Street road in front of his studio. He poured black house pigment in a pool in forepart of the rear tire of his Model A Ford, and directed Cage to drive over the 23 anxiety of newspaper, with the front tire embossing the scroll and the rear imprinting the newspaper with a continuous black tire tread mark. While this work is categorized as a print, it is the antiquity from a collaborative performance that explored process printing, the artist's mark, and series imagery. While it was his thought and direction that initiated the creation of the impress, Muzzle acted every bit the printer and press. In the creation of this work, Rauschenberg effectively shifted the term "activity painting" from the Abstract Expressionist active creation of the artist'south mark with their own hands to the action of driving a automobile, part of his continued interest in the obfuscation of traditional notions of the artist and work of art.

Ink on 20 sheets of paper glued together, mounted on cloth - San Francisco Museum of Modern Fine art

1955

Bed

I of Rauschenberg'southward beginning "combines," Bed transcends the line between painting and sculpture through its Dadaist assemblage of traditional materials and the detritus of everyday life. Rauschenberg coined the term combine to describe a series of works from the 1950s and 1960s that literally combine the media of painting and sculpture within a unmarried, three-dimensional art object. Counterfeit or not, the legend behind the combine states that one day Rauschenberg ran out of canvass and turned instead to his bed linens, start scribbling on the pillow, sheets, and quilt with pencil, and then rapidly dripping and spilling paint on them. He and so stretched the bed linens over a rectangular wooden support, in the place of a sail, and attached the pillow and quilt in a mode that made information technology appear as if the bed was fabricated with only one corner un-tucked. He applied the paint in a loose, dripped, gestural fashion that calls to mind the authorial marks of Jackson Pollock and Willem de Kooning. However, the brushstroke in the combine was no longer a marker indicative of the artist'south psyche, simply an appropriated symbol designating a shift towards the external world within the avant-garde. The found objects present more of an accurate portrait of Rauschenberg than the dripped paint, as they were items that he owned and used in his daily life, rather than an aesthetic sign borrowed from a previous generation.

Oil and pencil on pillow, quilt, and sheet on wooden supports - The Museum of Mod Art, New York

1955-59

Monogram

I of Rauschenberg's most famous works, Monogram, pushed the art world'due south buttons by further merging painting and sculpture every bit the combine moved from the wall to the pedestal. While he began with traditional materials - an abstract painting executed in oil on stretched canvas - he abandoned tradition by calculation an assemblage of found objects on acme of the painting to create a canonical, three-dimensional combine painting. Rauschenberg oftentimes acquired materials for his artwork on his meanderings about New York City, allowing adventure encounters with found objects to dictate his artistic output, and Monogram was no exception. In one of his wanderings in the early 1950s, Rauschenberg establish and purchased a stuffed angora goat from an function supply store and afterwards encircled it with a tire he encountered in street trash. He practical paint to the goat'due south snout in gestural brushstrokes that quoted Abstract Expressionism. On top of the sheet, Rauschenberg surrounded the goat with a pasture of more than detritus strewn about its hooves - including a tennis brawl, a wooden plank, and several found and reproduced images.

Like to his earlier combine, Bed (1955), Monogram is a work that engages the viewer on multiple levels, every bit they expect at, downward, and effectually the interwoven elements of the work all vying for the viewer's attention at once. All the same, despite many varied interpretations, Rauschenberg refused to hint at any predetermined meaning of the dissimilar symbols inside the work, instead allowing viewers to create their ain associations between the objects and images. Despite Rauschenberg's insistence confronting specific meanings of the work, often critics interpret the tire-ringed goat equally a symbol of the artist's sexuality, equally well every bit his role within the art world, trampling over tradition with his own artistic monogram.

Oil paint, printed newspaper, printed reproductions, metallic, forest, prophylactic heel and lawn tennis ball on canvas, with oil paint on angora goat and tire on wooden base mounted on iv casters - Moderna Museet, Stockholm

1959

Canyon

Amidst Rauschenberg's nearly iconic and controversial combines, Canyon features amongst its mixed media; pieces of wood, a pillow, a mirror, and a stuffed bald eagle. The eagle appears to emerge directly from the canvas, perched on top of a cardboard box and peering down on a pillow dangling below the assemblage. A photograph of Rauschenberg'due south son emerges from the incongruous cacophony of objects, boldly outlined with blackness above a mint green patch of paint so that it stands out amid the fragments of printed matter.

Rauschenberg caused the taxidermied hawkeye from boyfriend creative person Sari Dienes, who retrieved the bird from the detritus of a recently departed neighbor that had shot the bird during his time as i of the last of Teddy Roosevelt's Rough Riders. While Rauschenberg submitted a notarized letter in 1988 that the bird was killed well before the 1940 Baldheaded and Aureate Eagle Protection Act went into effect, the stuffed eagle nonetheless became the source of contempo governmental ire. In 2007, the estate of the former owner - Ileana Sonnabend - declared that Canyon was of zero value because it could not be sold without violating the 1940 Bald and Gilded Eagle Protection Human action. However, in 2011, the The states government appraised the work at 15 meg dollars, and also levied a penalty for an undervaluation at Sonnabend's heirs. In the finish, the U.S. regime dropped the 40 million plus dollar claim against Sonnabend'south estate subsequently the piece of work was donated to the Museum of Modern Fine art. While the eagle became the source of immense bureaucratic drama over the course of many years, information technology is also the well-nigh potent source of allegory and imagery inside the piece of work. Critics cite references ranging from nationalism in the guise of McCarthyism to the Greek Ganymede myth embedded inside the taxidermied bird, yet Rauschenberg always left the interpretation open up to the viewer.

Oil, pencil, paper, metal, photo, textile, wood, canvass, buttons, mirror, taxidermied eagle, cardboard, pillow, paint tube and other materials - The Museum of Modern Fine art, New York

1964

Skyway

While Rauschenberg was no stranger to collaged found imagery, the silkscreen technique reinvigorated his artistic practice in the early 1960s. Subsequently Andy Warhol introduced him to the photograph-silkscreen technique. Rauschenberg created a serial of silkscreen paintings that allowed for an open up-ended association of meanings through his cribbing and organisation of mass media imagery. In Skyway, Rauschenberg wanted to communicate the frenetic step of American culture encapsulated in the early half of the decade, particularly every bit represented on boob tube and in magazines. He stated, "I was bombarded with television sets and magazines, by the backlog of the world. I thought an honest work should incorporate all of those elements." He created the work in the year following the assassination of John F. Kennedy. Kennedy was a potent symbol for modify, even though he was struck downwardly only halfway through his first term as president. The image of Kennedy appears twice in the upper half of the painting surrounded by images that illustrate the ethics of American progress in the 2d half of the xx^thursday century including an astronaut, the bald eagle, and a large, mechanical crane surrounded by a demolished edifice. The lower half of the canvas contains a repeated image of Venus at Her Toilet (1608) by Peter Paul Rubens. The mirror inside the painting expands the image into the viewer's space, mirroring the world around them likewise as the world effectually Rauschenberg when he created the piece of work. While the appropriated images can exist read as politically and socially laden, Rauschenberg claimed he aimed to encapsulate the gimmicky climate rather than comment on it, using "elementary images" to "neutralize the calamities that were going on in the outside earth."

Oil and silkscreen on canvas - Dallas Museum of Fine art

1969

Sky Garden

While the infinite race was all the same in its infancy when Rauschenberg included astronauts in his 1964 silkscreen paintings, by 1969, space flight was a reality that inspired Rauschenberg, and many Americans, with the potential for collaboration between man and technology. In July of 1969, the National Aeronautics and Space Administration (NASA) invited Rauschenberg to Greatcoat Canaveral, Florida, to witness the launch of the momentous Apollo 11 mission and granted him unrestricted access to the grounds and facilities, allowing him to explore the facilities and see with scientists equally well as utilise official photographs and technical documents. The visit instilled a renewed sense of optimism in Rauschenberg, and regarding NASA'due south missions, he said, "The whole project seemed one of the only things at that time that was non concerned with war and devastation." His Stoned Moon series (1969-70) is a testament to that sense of promise, peculiarly poignant in the tumultuous context of the late 1960s, defined by civil rights movements and anti-war protests against the Vietnam State of war. To create the prints, Rauschenberg collaged transferred photographs supplied by NASA. He discovered in the early 1960s that if he soaked reproductions from magazines in lighter fluid he could transfer them on to paper by rubbing the back with a dry pen pecker. The imagery juxtaposes the technology of the booster rocket in red with the natural environs of Greatcoat Canaveral in bluish and green, echoing the sensory overload experienced as one witnessed the Apollo 11 launch. Sky Garden is 1 of the largest lithographs in the series, at an amazing 89 inches in acme and was the largest hand-pulled lithograph ever created when information technology was printed in 1969.

Lithograph and screen print - Museum of Gimmicky Art, San Diego

1970

Signs

Immediately after the turmoil of the 1960s had come up to a shut, Rauschenberg created this collage summarizing the upheaval of the decade. While the lower left corner anchored the piece with the exhilaration and optimism of the 1969 moon landing embodied in the image of astronaut Buzz Aldrin, Rauschenberg surrounded this figure with a constellation of figures that symbolized the turmoil of the preceding decade likewise. The surrounding images of John F. Kennedy, who was assassinated in 1963, as well as Martin Luther King, Jr. and Robert, or Bobby, Kennedy, who were both assassinated in 1968, highlighted the destruction of the political optimism during the 1960s. The epitome of Janis Joplin - a swain native of Port Arthur, Texas - at the top right emphasized the loss of young talent in the music manufacture equally rock stars partied themselves to death, Joplin having died of an overdose in Oct of 1970 right before Rauschenberg created the print. Other images surrounding the astronaut portray urban violence, the Vietnam War, and a peace vigil - all descriptions of the tumult of the 1960s. The collage structure and all-over composition further visually enhance and reverberate the chaos of this menstruation.

Screenprint collage - The Minneapolis Institute of Arts, Minnesota

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Useful Resource on Robert Rauschenberg

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Books

The books and articles beneath constitute a bibliography of the sources used in the writing of this page. These also advise some accessible resource for further research, especially ones that can be found and purchased via the internet.

biography

• Off the Wall: A Portrait of Robert Rauschenberg Our Pick

  Past Calvin Tomkins

• Random Guild: Robert Rauschenberg and the Neo-Avant-Garde Our Pick

  By Branden Due west. Joseph

• Rauschenberg

  Past Mary Lynn Kotz

written by artist

• Robert Rauschenberg: Works, Writing, Interviews Our Pick

  Past Robert Rauschenberg and Sam Hunter

artworks

• Robert Rauschenberg: A Retrospective (1997) Our Pick

  Guggenheim Exhibition Catalogue / By Robert Rauschenberg, Walter Hopps, Susan Davidson, and Trisha Dark-brown

• Robert Rauschenberg: Combines

  By Paul Schimmel and Robert Rauschenberg

• Robert Rauschenberg: Transfer Drawings of the 1960s

  Past Lewis Kachur, Robert Rauschenberg, and Jonathan O'Hara

• Robert Rauschenberg: Cardboards and Related Pieces

  By Yves-Alain Bois, Josef Helfenstein, and Clare Elliott

• Robert Rauschenberg: Breaking Boundaries

  By Robert Saltonstall Mattison, and Robert Rauschenberg

Content compiled and written by Julia Brucker

Edited and revised, with Summary and Accomplishments added past Valerie Hellstein

"Robert Rauschenberg Artist Overview and Assay". [Internet]. . TheArtStory.org
Content compiled and written past Julia Brucker
Edited and revised, with Summary and Accomplishments added by Valerie Hellstein
Available from:
Starting time published on 05 Jun 2014. Updated and modified regularly
[Accessed ]

fitchettgnalluggive.blogspot.com

Source: https://www.theartstory.org/artist/rauschenberg-robert/

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