James Meyer, Minimalism: Art and Polemics in the Sixties (New Haven, CT: Yale University Press, 2001), 77. Henry J. Seldis, “Rauschenberg Retrospective: Robert’s Rules of Disorder,” Los Angeles Times, July 24, 1977. Robert Rauschenberg Erased de Kooning Drawing, 1953 Traces of drawing media on paper with label and gilded frame 25 1/4 x 21 3/4 x 1/2 in. Black, White and Grey: Contemporary Painting and Sculpture, Wadsworth Atheneum, Hartford, Connecticut, January 9–February 9, 1964. 4 (Winter 2005): 291. 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. Robert Rauschenberg, San Francisco Museum of Modern Art, May 7–September 7, 1999. Lawrence Alloway, “Robert Rauschenberg et Jasper Johns,” Depuis 45—L’art de notre temps 2 (Bruxelles: La Connaissance, 1970), 201. Accessed June 23, 2013. https://www.artnet.com/magazineus/features/saltz/saltz1-11-06.asp#. 110 (Winter 2009/2010): 44, 47 (ill.). Note: This inscription was executed by Jasper Johns using a template device. Wayne Smith, “Collection Rotation: Wayne Smith,” Open Space (SFMOMA blog), February 14, 2011. 4 (April 1973): 57, 58. Thierry de Duve, Clement Greenberg between the Lines: Including a Previously Unpublished Debate with Clement Greenberg, trans. Dave Hickey, “Apogamy Pods: Rauschenberg Erases Rauschenberg,” Apogamy Pods (New York: PaceWildenstein, 2000), 4 (ill.), 5. Fred Kaplan, 1959: The Year Everything Changed (Hoboken, NJ: John Wiley & Sons, 2009), 173–74, 288n173. American Drawings (New York: Solomon R. Guggenheim Museum, 1964), n.p. Tony Godfrey, Conceptual Art (London: Phaidon, 1998), 62 (ill.), 63–64, 75, 81, 165. Pontus Hultén, Territorium Artis (Bonn, Germany: Verlag Gerd Hatje, 1992), 282, 283 (ill.), 383. Elisabeth Lebovici, “Rauschenberg à grande échelle,” Libération, September 30, 1997. Did not travel to Guggenheim Museum SoHo, New York. Accessed February 9, 2015. https://shuffle.rauschenbergfoundation.org/exhibitions/nasher/essays/Hardiman_monochromes-and-mandalas/. Robert Rauschenberg with Willem de Kooning and Jasper Johns. Traveled to: Fundació Joan Miró, Barcelona, March 28–May 19, 1985. 7 (March 1972): 47. Branden W. Joseph, Random Order: Robert Rauschenberg et la néo-avant-garde, trans. Katrina Fried (New York: Welcome Enterprises, 2012), 135. Did not travel to remaining venues. Duchamp’s Leg, Walker Art Center, Minneapolis, November 5, 1994–March 26, 1995. 4 (April 1986): 141. Russell Ferguson, ed., Hand-Painted Pop: American Art in Transition, 1955–62 (Los Angeles: Museum of Contemporary Art, 2002), 30 (ill.), 97. Christine Temin, “‘Art’ and Art—Thoughts on White Matter and Its Value,” Boston Globe, March 8, 2000. L’art conceptuel, une perspective, Musée d’Art Moderne de la Ville de Paris, November 22, 1989–February 18, 1990. 4 (April 1992): 128. Traveled to: Fundación Caja de Pensiones, Madrid (as Arte conceptual, una perspectiva), March 12–April 29, 1990. Territorium Artis, Kunst- und Ausstellungshalle der Bundesrepublik Deutschland, Bonn, Germany, June 19–September 20, 1992. Peinture: Emblèmes et références (Bordeaux: CAPC Musée d’Art Contemporain de Bordeaux, 1993), 14–15, 139. Jonathan Jones, “Now You See Them: The Eternal Allure of Lost Art,” Guardian (London), July 1, 2012. Kendall L. Walton, “Categories of Art,” Philosophical Review 79, no. John Dilworth, “Resemblance, Restriction, and Content-Bearing Features,” Journal of Aesthetics and Art Criticism 63, no. 1 (Autumn 2000): 113–15. Peter Hassinger, “Rauschenberg in San Francisco,” California (July 1977): 74. 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 piece was developed in 1953 after the artist erased a drawing he obtained from the fellow artist Willem de Kooning. Maxime de la Falaise McKendry, “Robert Rauschenberg Talks to Maxime de la Falaise McKendry,” Andy Warhol’s Interview 6, no. Unpublished transcript, SFMOMA Research Library and Archives, N 6537 .R27 A35 1999a, 2, 20–24, 38. The Menil Collection: A Selection from the Paleolithic to the Modern Era, 1st ed. Infrared scan and processing by Robin D. Myers, 2010. Art Lovers: Stories of Art in the Pinault Collection (Monaco: Grimaldi Forum, 2014), 42, 49 (ill.), 52. Claude Gintz, et al., L’art conceptual, une perspective, trans. (New York: Harry N. Abrams, 1997), 276. Both de Kooning and Pollock had forged a radically new style of abstract painting, and de Kooning would become particu… Instead we see de Kooning at work, in process, thinking with his pencil and charcoal. Jonathan Fineberg, “Robert Rauschenberg’s ‘Reservoir,’” American Art 12, no. 1070 (May 1992): 336. Erased de Kooning Drawing eludes easy answers, its mysterious beginnings leaving it open to a range of present and future interpretations. Jonathan D. Katz, “The Outness of Rauschenberg’s Art,” Gay & Lesbian Review 15 (September–October 2008): 10. 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. Louis Menand, “A Critic at Large: Top of the Pops,” New Yorker, January 11, 2010, 64. 6 (November/December 1990): 77. Robert Hughes, “The Most Living Artist,” Time, November 29, 1976, 61. Douglas Crimp, “New York Review,” Art International 17, no. Barbara Buhler Lynes and Jonathan Weinberg, eds., Shared Intelligence: American Painting and the Photograph (Berkeley: University of California Press, 2011), 172. Erased de Kooning Drawing is an early work of US artist Robert Rauschenberg: an almost blank piece of paper in a simple gilded frame.The work was created in 1953 by Rauschenberg erasing a drawing he obtained from Dutch artist Willem de Kooning.Rauschenberg asked his friend Jasper Johns to add a written caption to the frame, which reads: "Erased de Kooning Drawing, Robert Rauschenberg, 1953”. Richard B. Woodward, “Creative Destruction,” Wall Street Journal, January 7, 2014. 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. Apr 25, 2016 - Explore Levering's board "drawing" on Pinterest. Walter Hopps, ed., Robert Rauschenberg (Washington, D.C.: National Collection of Fine Arts, Smithsonian Institution, 1976), 75 (ill.). He approached Willem de Kooning (1904–1997), an artist for whom he had tremendous respect, and asked him for a drawing to erase. Did not travel to Center for the Fine Arts, Miami, Florida. These works recall and effectively extend the notion of the artist as creator of ideas, a concept first broached by Marcel Duchamp (1887–1968) with his iconic readymades of the early twentieth century. Multiple figures fill the sheet, oriented in two directions. 1 A simple composition comprising a single sheet of smudged paper, a thin gold frame with a plain window mat, and a machine-precise inscription, Robert Rauschenberg’s Erased de Kooning Drawing blankly addresses the viewer. Franklin Philip (New York: Columbia University Press, 1994), 97. The inscription, “ERASED DE KOONING DRAWING BY ROBERT RAUSCHENBERG 1953,” is the only toehold offered to those unfamiliar with this enigmatic artwork. Ara H. Merjian, “David Schutter,” Frieze 166 (October 2014): 266. Benjamin Forgey, “An Artist for all Decades,” ARTnews 76, no. 5 (May 1976): 36. 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. Stephen Poser, “The Life and Death of the Unconscious in Modern and Contemporary Art,” Modern Psychoanalysis 33, no. Accessed June 23, 2013. https://galleryoflostart.com/#/0,4/. Lisa Phillips, ed., The American Century: Art and Culture 1950–2000 (New York: Whitney Museum of American Art, 1999), 83 (ill.). 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. 1 (January–February 2009), 44. Paul Richard, “Silk Sheets and Neon Bicycles; At the National Gallery, the Extravagant ‘Rauschenberg Overseas Culture Interchange,’” Washington Post, May 12, 1991. Rauschenberg, Fundación Juan March, Madrid, February 8–March 24, 1985. How Robert Rauschenberg erased a Willem de Kooning and created a landmark of postmodernism. Barbara Hess, Willem de Kooning, 1904–1997: Content as a Glimpse (Cologne: Taschen, 2004), 7, 8 (ill.). Donna Tennant, “Houston: Robert Rauschenberg—Contemporary Arts Museum,” ARTnews 85, 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. Bryan Robertson, Henry Geldzahler, and John Cage, Robert Rauschenberg: Paintings, Drawings and Combines, 1949–1964 (London: Whitechapel Gallery, 1964), 10. Donald J. Saff, “Conservation of Matter: Robert Rauschenberg’s Art of Acceptance,” Aperture, no. (New York: Harry N. Abrams, 1987), 276. 9 (November 2009): 624, 629. Robert M. Adams, “Ssh,” New York Review of Books, September 25, 1969, 30. Gargantuan!,” Sentinel (Chicago), December 1977. Looking at Jackson Pollock, The Painting Techniques of Jackson Pollock, Paint Application Studies of Jackson Pollock's, The Painting Techniques of Barnett Newman, Gerhard Richter, The Cage Paintings (1-6), Louis Sullivan, Carson, Pirie, Scott Building, A Landmark Decision: Penn Station, Grand Central, and the architectural heritage of NYC, Solomon R. Guggenheim Museum, New York City, Gordon Bunshaft for Skidmore Owings and Merrill, Lever House, Ludwig Mies van der Rohe, Seagram Building, New York City, Russel Wright, "American Modern" Pitchers, Glass Chair at the 1939 New York World's Fair, Running in sneakers, the Judson Dance Theater, Breuer, The Whitney Museum of American Art (now The Met Breuer), Robert Venturi, House in New Castle County, Delaware, Zaha Hadid, MAXXI National Museum of XXI Century Arts, https://smarthistory.org/erased-dekooning-rauschenberg/. Accessed April 2, 2015. https://post.at.moma.org/content_items/478-lost-in-translation-twenty-questions-to-bob-rauschenberg. Kåre Bulie, “Tegn i tiden,” Dagens Næringsliv, October 23, 2014, (ill.). Kay Larson, “Zen and the Art,” New York Magazine, November 16, 1992, 90. 4 (October 2006), 329, 339, 340. Robert Rauschenberg: A Retrospective, Solomon R. Guggenheim Museum, New York, September 19, 1997–January 7, 1998. Accessed June 23, 2013. https://blog.sfmoma.org/2011/02/collection-rotation26/. Carolyn Lanchner, Robert Rauschenberg (New York: Museum of Modern Art, 2009), 29, 30 (ill.). Treasures of Modern Art: The Legacy of Phyllis Wattis at SFMOMA, San Francisco Museum of Modern Art, January 30–June 24, 2003. 50 Years at Pace: The Abstract Expressionist and Pop Art Years, Pace Gallery, New York, September 17–October 23, 2010. Kerry Brougher, Russell Ferguson, and Dario Gamboni, Damage Control: Art and Destruction Since 1950 (Washington, D.C.: Hirshhorn Museum and Sculpture Garden, 2014), 110 (ill.), 111, 113, 172, 186, 190. 3 (May–June 1977): 60, 61. Emma Hart, “I Am If I Say So, Bob & Bruce,” in Rauschenberg: Collecting & Connecting, ed. The simple, gilded frame and understated inscription are integral parts of the finished artwork, offering the sole indication of the psychologically loaded act central to its creation. And read its full exhibition and publication history: it’s clear that this unassuming object is much in demand. 1 (March 1966): 63. Jack Fischer, “SFMOMA’s Best Friend,” San Jose Mercury News, February 9, 2003. 4 (July 2003): 52, 55. Instead we see de Kooning at work, in process, thinking with his pencil and charcoal. Rauschenberg discusses one of his most controversial works. 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). Richard Kostelanetz, “The Artist as Playwright and Engineer,” New York Times, October 9, 1966, 122, 124. 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. Cornelia Butler and Alexandra Schwartz, eds., Modern Women: Women Artists at the Museum of Modern Art (New York: Museum of Modern Art, 2010), 66. Frances Colpitt, “Rauschenberg: In the Beginning,” Art in America 80, no. Pierre Daix, “Rauschenberg à la Fondation Maeght,” Désirs des arts, June 3, 1984 (Paris: Antenne 2): 26:29 min. Jenna Sauers, “Burning a Birkin Is Not ‘Art,’” Jezebel, May 30, 2012. 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.). 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. Mario Naves, “A World without Distinctions: Rauschenberg at the Guggenheim,” New Criterion 16, no. Michael Horne, “Elephants Painting? Bernice Rose, Rauschenberg: Arcadian Retreats (New York: PaceWildenstein, 1997), 10. Visible light scan by Ben Blackwell, 2010. Arthur C. Danto, “Robert Rauschenberg,” The Nation, November 17, 1997, 35. Philip Fisher, Making and Effacing Art: Modern American Art in a Culture of Museums (New York: Oxford University Press, 1991), 98–99. , 340: “ Erased de Kooning drawing by erasing a work by Abstract! 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