Robert Rauschenberg
Born	October 22, 1925 Port Arthur, Texas, US
Died	May 12, 2008 (aged 82) Lee County, Florida, US
Nationality	American
Field	Assemblage
Movement	Neo-Dada
Works	"Canyon" (1959)

Robert Rauschenberg (born Milton Ernst Rauschenberg; October 22, 1925 – May 12, 2008) was an American artist who came to prominence in the 1950's transition from Abstract Expressionism to Pop Art.^[1][2]

Rauschenberg is perhaps most famous for his "Combines" of the 1950s, in which non-traditional materials and objects were employed in innovative combinations. While the Combines are both painting and sculpture, Rauschenberg also worked with photography, printmaking, papermaking, and performance. Rauschenberg picked up trash and found objects that interested him on the streets of New York City and brought these back to his studio where they could become integrated into his work. He claimed he "wanted something other than what I could make myself and I wanted to use the surprise and the collectiveness and the generosity of finding surprises. And if it wasn't a surprise at first, by the time I got through with it, it was. So the object itself was changed by its context and therefore it became a new thing."^[3]

In 1953 in a famously cited incident, Rauschenberg erased a drawing by de Kooning. ^[4] In 1964 Rauschenberg was the first American artist to win the Grand Prize at the Venice Biennale (Mark Tobey and James Whistler had previously won the Painting Prize). After that time, he enjoyed a rare degree of institutional support. Rauschenberg lived and worked in New York City and on Captiva Island, Florida until his death on May 12, 2008, from heart failure.^[5]

Biography

Early life

Robert Rauschenberg, Untitled "combine, 1963.

Rauschenberg was born as Milton Ernst Rauschenberg (he changed his first name as an adult) in Port Arthur, Texas, the son of Dora and Ernest Rauschenberg.^[6] His father was of German and Cherokee ancestry and his mother of Anglo-Saxon descent.^[7][8] His parents were Fundamentalist Christians.^[7] Rauschenberg studied at the Kansas City Art Institute and the Académie Julian in Paris, France, where he met the painter Susan Weil, who later became his wife. In 1948 Rauschenberg and Weil decided to attend Black Mountain College in North Carolina.^[9][10]

At Black Mountain his painting instructor was the renowned Bauhaus figure Josef Albers, whose strict discipline and sense of method inspired Rauschenberg, as he once said, to do "exactly the reverse" of what Albers taught him.^[5]Composer John Cage, whose music of chance occurrences and found sounds perfectly suited Rauschenberg's personality, was also a member of the Black Mountain faculty.

From 1949 to 1952 Rauschenberg studied with Vaclav Vytlacil and Morris Kantor at the Art Students League of New York,^[11] where he met fellow artists Knox Martin and Cy Twombly.^[12]

Rauschenberg and the painter Susan Weil were married in the summer of 1950.

Career

In 1951 Rauschenberg had his first one-man show at the Betty Parsons Gallery^[13] and in 1954 Rauschenberg had a second one-man show at the Charles Egan Gallery. ^[14]

Rauschenberg's "White Paintings", created in 1951, were exhibited at Eleanor Ward's Stable Gallery in New York during October of 1953; while they contain no images at all, are said to be so exceptionally blank and reflective that their surfaces respond and change in sympathy with the ambient conditions in which they are shown,^[15] "so you could almost," as Rauschenberg once commented. The White Paintings are said to have directly influenced Cage in the composition of his completely "silent" piece titled 4'33" the following year.^{[citation needed]}

In 1952 Rauschenberg began his series of "Black Paintings" and "Red Paintings," in which large, expressionistically brushed areas of color were combined with collage and found objects attached to the canvas. These so-called "Combine Paintings" ultimately came to include such heretofore un-painterly objects as a stuffed goat ("Monogram", 1959) and a quilt ("Bed", 1955), breaking down traditional boundaries between painting and sculpture, reportedly prompting one Abstract Expressionist painter to remark, "If this is Modern Art, then I quit!"^{[citation needed]} Rauschenberg's Combines provided inspiration for a generation of artists seeking alternatives to traditional artistic media.

Rauschenberg's approach was sometimes called "Neo-Dada," a label he shared with the painter, close friend, and sometime lover Jasper Johns.^[16] Rauschenberg's oft-repeated quote that he wanted to work "in the gap between art and life" suggested a questioning of the distinction between art objects and everyday objects, reminiscent of the issues raised by the notorious "Fountain," by Dada pioneer, Marcel Duchamp. At the same time, Johns' paintings of numerals, flags, and the like, were reprising Duchamp's message of the role of the observer in creating art's meaning.

Alternatively, in 1961, Rauschenberg took a step in what could be considered the opposite direction by championing the role of creator in creating art's meaning. Rauschenberg was invited to participate in an exhibition at the Galerie Iris Clert, where artists were to create and display a portrait of the owner, Iris Clert. Rauschenberg's submission consisted of a telegram sent to the gallery declaring "This is a portrait of Iris Clert if I say so."

Robert Rauschenberg, Riding Bikes, Berlin, Germany, 1998.

By 1962, Rauschenberg's paintings were beginning to incorporate not only found objects but found images as well - photographs transferred to the canvas by means of the silkscreen process. Previously used only in commercial applications, silkscreen allowed Rauschenberg to address the multiple reproducibility of images, and the consequent flattening of experience that that implies. In this respect, his work is contemporaneous with that of Andy Warhol, and both Rauschenberg and Johns are frequently cited as important forerunners of American Pop Art.

In 1966, Billy Klüver and Rauschenberg officially launched Experiments in Art and Technology (E.A.T.) a non-profit organization established to promote collaborations between artists and engineers.

In 1984, Rauschenberg announced his Rauschenberg Overseas Culture Interchange, or ROCI, at the United Nations. This would culminate in a seven year, ten country tour to encourage "world peace and understanding," through Mexico, Chile, Venezuela, Beijing, Lhasa (Tibet), Japan, Cuba, Soviet Union, Berlin, and Malaysia in which he left a piece of art, and was influenced by the cultures he visited. Paintings, often on reflective surfaces, as well as drawings, photographs, assemblages and other multimedia were produced, inspired by these surroundings, and this was considered some of his strongest works. The ROCI venture, supported by the National Gallery of Art in Washington, D.C., went on view in 1991.

In addition to painting and sculpture, Rauschenberg's long career has also included significant contributions to printmaking and Performance Art. He also won a Grammy Award for his album design of Talking Heads' album Speaking in Tongues. As of 2003 he worked from his home and studio in Captiva, Florida.

Personal life

Rauschenberg married the painter Susan Weil in 1950. Their only child, Christopher, was born July 16, 1951. They divorced in 1953.[1] According to a 1987 oral history by the composer Morton Feldman, after the end of his marriage, Rauschenberg had romantic relationships with fellow artists Cy Twombly and Jasper Johns.[2] An article by scholar Jonathan D. Katz states that Rauschenberg's affair with Twombly began during his marriage to Susan Weil.[3]

Rauschenberg died on May 12, 2008 of heart failure after his personal decision to go off life support ^[17] , on Captiva Island in Florida.^[18] Rauschenberg is survived by his partner of 25 years, artist Darryl Pottorf^[17], his former assistant.^[19] Rauschenberg is also survived by his son Christopher Rauschenberg and his sister Janet Begneaud.

Quotes

Robert Rauschenberg, Portrait of Iris Clert

• "It is impossible to have progress without conscience."
• "I think a painting is more like the real world if it's made out of the real world."
• "The artist's job is to be a witness to his time in history."
• "You begin with the possibilities of the material."
• "An empty canvas is full only if you want it to be full."
• "I work in the gap between art and life."
• "You have to have the time to feel sorry for yourself in order to be a good abstract expressionist."
• "I feel as though the world is a friendly boy walking along in the sun."
• "People ask me, 'Don't you ever run out of ideas?' In the first place I don't use ideas. Every time I have an idea it's too limiting, and usually turns out to be a disappointment. But I haven't run out of curiosity."
• "Screwing things up is a virtue. Being correct is never the point. Being right can stop all the momentum of a very interesting idea.”

See also

• Arte Povera
• Assemblage (art)
• Happening
• Experiments in Art and Technology
• Art Students League of New York

Further reading

• Busch, Julia M., A Decade of Sculpture: the New Media in the 1960s (The Art Alliance Press: Philadelphia; Associated University Presses: London, 1974) ISBN 0-87982-007-1, ISBN 978-0879820077.
• Marika Herskovic, New York School Abstract Expressionists Artists Choice by Artists, (New York School Press, 2000.) ISBN 0-9677994-0-63
• Sweeney, Louise M. "Rauschenberg's Worldwide Quest for Art and Ideas," The Christian Science Monitor, May 20, 1991

External links

• Robert Rauschenberg biography on the New York Guggenheim Museum website.
• Current exhibitions on Artfacts.net
• Screening of Robert Rauschenberg's 1966 Film "Open Score" at the National Academy of Sciences in Washington, D.C.
• "OUR PICASSO?", Village Voice
• 1997 Vanity Fair Profile
• Art Quotations by Robert Rauschenberg - The Painter's Keys Resource of Art Quotations
• Obituary