Carolyn Lanchner, Robert Rauschenberg (New York: Museum of Modern Art, 2009), 29, 30 (ill.). 3 (Spring 1975): 374. (64.14 x 55.25 x 1.27 cm) Collection SFMOMA, purchase through a gift of Phyllis Wattis, 98.298 Cite as: “Robert Rauschenberg, Erased de Kooning Drawing… Kristine Stiles and Peter Selz, eds., Theories and Documents of Contemporary Art: A Sourcebook of Artists’ Writings (Berkeley: University of California Press, 1996), 804. Philip Fisher, Making and Effacing Art: Modern American Art in a Culture of Museums (New York: Oxford University Press, 1991), 98–99. Mark Swed, “Cage by Chance,” New Yorker, October 4, 1993, 212. The Menil Collection: A Selection from the Paleolithic to the Modern Era, 2nd ed. Robert Rauschenberg, National Collection of Fine Arts, Smithsonian Institution, Washington, D.C., October 30, 1976–January 2, 1977. The inscription, “ERASED DE KOONING DRAWING BY ROBERT RAUSCHENBERG 1953,” is the only toehold offered to those unfamiliar with this enigmatic artwork. Distributed by New Video in 2010. Thomas Crow, “Social Register,” Artforum 47, no. Barbara Pollack, “Under Destruction,” ARTnews 111, no. Sebastian Smee, “Critic’s Notebook: Rose Art Museum Shines at 50,” Boston Globe, November 6, 2011. Reggie Michael Rodrigue, “The Only Stair that Doesn’t Creak: Silence,” Oxford American, September 4, 2012. The female figure at lower left is likely related to the Woman series, with which de Kooning was deeply involved from 1950 to 1955. Shaila Dewan, “Culture Clash,” Houston Press, February 26, 1998. (Garden City, NY: Doubleday, 1964), 35. 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. Dean Jensen, “Rauschenberg Retrospective Stupendous! ラウシェンバーグ [Rauschenberg], Gendai bijutsu 14 (Tokyo: Kodansha, 1993), n.p. Frete GRÁTIS em milhares de produtos com o Amazon Prime. Yoshiaki Tono, “From a Gulliver’s Point of View,” Art in America 48, no. Hiroko Ikegami, The Great Migrator: Robert Rauschenberg and the Global Rise of American Art (Cambridge, MA: MIT Press, 2010), 180–81, 197. From 1951 to 1953, Robert Rauschenberg made a number of artworks that explore the limits and very definition of art. 4 (April 1986): 141. Arthur C. Danto, Jerry Saltz, David J. Getsy, et al., Learning Mind: Experience into Art, ed. Accessed June 23, 2013. “‘Art in the Mirror’: Pop Art Exhibit Kids Tired Old Cliches,” Florence Morning News (Florence, SC), December 18, 1966. 2 (February 1998): 69. Robert Hughes, “The Most Living Artist,” Time, November 29, 1976, 61. Walter Hopps, ed., Robert Rauschenberg (Washington, D.C.: National Collection of Fine Arts, Smithsonian Institution, 1976), 75 (ill.). Richard Kostelanetz, “The Artist as Playwright and Engineer,” New York Times, October 9, 1966, 122, 124. 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. Barbara Rose, Gilbert Perlein, and Bruno Corà, Robert Rauschenberg: Oeuvres des années 80 et 90 (Nice: Éditions Nice Musées, 2005), 26–27, 54. Barbara Rose and Mikael Wivel, Robert Rauschenberg On and Off the Wall (Aarhus: ARoS, 2006), 40, 67–68. Painters Painting: A Candid History of the New York Art Scene, 1940–1970, directed by Emile de Antonio (New York: Turin Film, 1972), DVD, 116 min. Irving H. Sandler, The New York School: The Painters and Sculptors of the Fifties (New York: Harper & Row, 1978), 173n46, 177. “A Close-Up of an Artist’s Evolution at Corcoran,” Washington Times, June 24, 1991. Dan Shaw, “Eco-Conscious Meets Guilty Conscience,” New York Times, November 12, 2006. Kristine Stiles (Durham, NC: Nasher Museum of Art, 2014), 16; online edition (ill.). Übrigens sterben immer die anderen: Marcel Duchamp und die Avantgarde seit 1950, Museum Ludwig, Cologne, Germany, January 15–March 6, 1988. Please note that artwork locations are subject to change, and not all works are on view at all times. 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. David E. W. Fenner, “Why Modifying (Some) Works of Art Is Wrong,” American Philosophical Quarterly 43, no. Erased de Kooning Drawing eludes easy answers, its mysterious beginnings leaving it open to a range of present and future interpretations. Jen Scoville, “Rauschenberg’s Repartee: Facetious Facets of the Retrospective in Houston,” Texas Monthly, 1998. John Cage, A Year from Monday: New Lectures and Writings (Middletown, CT: Wesleyan University Press, 1967), 71, 75. Adrian Searle, “Stuff Happens,” Guardian (London), November 27, 2006. 1 (September 2008): 427, 428, 429 (ill.). (ill.). Did not travel to remaining venues. Accessed June 23, 2013. Art Lovers: Stories of Art in the Pinault Collection (Monaco: Grimaldi Forum, 2014), 42, 49 (ill.), 52. How long did it take Rauschenberg to erase the whole drawing? 5 (May 1976): 36. Christopher Knight, “Enlightening Look at Early Rauschenberg,” Los Angeles Times, May 20, 1992. Kendall L. Walton, “Categories of Art,” Philosophical Review 79, no. Rauschenberg met de Kooning and befriended him as a student at Black Mountain College in North Carolina. Irith Hadar, Under Erasure (תחת מחיקה) (Tel Aviv: Tel Aviv Museum of Art, 2014), 12 (ill.), 13–14, 127–28. Susan Davidson and David White, eds., Rauschenberg (Ferrara, Italy: Ferrara Arte, 2004), 30, 31, 45n15, 66 (ill.), 67–68, 80, 95. L’art conceptuel, une perspective, Musée d’Art Moderne de la Ville de Paris, November 22, 1989–February 18, 1990. Dario Gamboni, The Destruction of Art: Iconoclasm and Vandalism since the French Revolution (New Haven, CT: Yale University Press, 1997), 268, 269 (ill.). Traveled to: Fundació Joan Miró, Barcelona, March 28–May 19, 1985. The sight of this approximation of de Kooning’s drawing ultimately does not transform our understanding of Rauschenberg’s finished artwork. Lynne Cooke, “Robert Rauschenberg: The Early 1950s,” Burlington Magazine 134, no. Carter Ratcliff, “New York,” Art International 21, no. Annick Colonna-Césari, “Rauschenberg, l’explorateur des limites,” L’express, September 10, 1997. Jeffrey Strayer, “A Tribute to Pop Art Pioneer Rauschenberg,” Journal Gazette (Fort Wayne, IN), May 22, 2008, (ill.). Robert M. Adams, “Ssh,” New York Review of Books, September 25, 1969, 30. 125 (Fall 1991): 30. Jeffry Cudlin, “‘Damage Control’: A Show about Destruction in 20th- and 21st-century Art Has Its Head in the Mushroom Clouds,” Washington City Paper, November 1, 2013. Identità e alterità: figure del corpo 1895–1995, 47th Biennale di Venezia, Palazzo Grassi, Venice, Italy, June 11–October 15, 1995. Kenneth Baker, “Rauschenberg’s Reality,” San Francisco Chronicle, August 20, 1998, (ill.). FRAME IS PART OF DRAWING”, Carmine Negro, “Rauschenberg al Madre: Le sue opere datate anni Settanta,” La Rassegna d’Ischia 30, no. Unpublished transcript, SFMOMA Research Library and Archives, N 6537 .R27 A35 1999a, 2, 20–24, 38. . Calvin Tomkins, The Bride and the Bachelors: Five Masters of the Avant-Garde (New York: Penguin, 1976): 210–11. Donald Finkel, A Joyful Noise: Poems by Donald Finkel (New York: Atheneum, 1966), 62–69. Michael Horne, “Elephants Painting? Robert Rauschenberg, Erased de Kooning Drawing, 1953 Flip the work around, though, and there is a lot to see–dozens of exhibition labels crowd the back of Erased de Kooning’s frame. Both de Kooning and Pollock had forged a radically new style of abstract painting, and de Kooning would become particu… 1 (September 1982): 43 (ill.), 46. Paul Wood, ed., Varieties of Modernism (New Haven, CT: Yale University Press, 2004), 273, 276, 277 (ill.). Claude Gintz, et al., L’art conceptual, une perspective, trans. Accessed June 23, 2013. Lucy R. Lippard, Changing: Essays in Art Criticism (New York: E. P. Dutton, 1971), 261. Sam Hunter, Selections from the Ileana and Michael Sonnabend Collection: Works from the 1950s and 1960s (Princeton, NJ: Princeton University Art Museum, 1985), 21, 76. David Bonetti, “Rauschenberg Coup Cements SFMOMA’s Ascendance,” San Francisco Examiner, May 28, 1999. Jerry Saltz, “Our Picasso?,” Artnet, January 11, 2006. 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. However, the resulting image reveals a field of marks that is far from a finished drawing or even a focused study. Patricia G. Berman and Pari Stave, Munch|Warhol and the Multiple Image (New York: The American-Scandinavian Foundation, 2013), 22 (ill.), 23. Anna Brzyski, ed., Partisan Canons (Durham, NC: Duke University Press, 2007), 309, 310 (ill.), 311. Katherine Hardiman, “Monochromes & Mandalas,” in Rauschenberg: Collecting & Connecting, ed. Traveled to: The Menil Collection, Houston, September 27, 1991–January 5, 1992; Museum of Contemporary Art, Chicago, February 8–April 19, 1992; San Francisco Museum of Modern Art, May 14–August 16, 1992 (on view until around June 5, 1992). Julia Cheever, “Looking Back on a Giant of Modern Art,” San Francisco Bay Guardian, July 14, 1977. 1953. Robert Rauschenberg: Selections, Fort Worth Art Center Museum, Fort Worth, Texas, January 5–February 2, 1969. Cate McQuaid, “Something Borrowed at an MIT show, Artists Pay Tribute to, and Twist, Works that Have Influenced Them,” Boston Globe, May 30, 2003. 4 (July 2003): 52, 55. Verso (sheet): An untitled drawing by Willem de Kooning, Verso (backing board): Upper right, inscription in black: “53.D1”; center, inscribed in black by the artist’s studio assistant Charles Yoder: “DO NOT REMOVE DRAWING FROM FRAME. Michael Kimmelman, “Before Rauschenberg Was Infamous,” New York Times, October 23, 1992. 1 (Spring 1998): 87. Monroe C. Beardsley, “The Faith of Graffiti,” Journal of Aesthetics and Art Criticism 33, no. Robert Rauschenberg (New York: Gagosian Gallery, 2010), 9, 220. Did not travel to remaining venues. Carol Vogel, “Inside Art: Left Their Art in San Francisco,” New York Times, June 5, 1998. Points of Departure: Connecting with Contemporary Art, San Francisco Museum of Modern Art, March 23–October 28, 2001. Please review our Terms of Use for more information. Calvin Tomkins, Off the Wall: Robert Rauschenberg and the Art World of Our Time (Garden City, NY: Doubleday, 1980), 96–97, 299. “Most Happy Fella,” Time, September 18, 1964, 84. Paul Richard, “Silk Sheets and Neon Bicycles; At the National Gallery, the Extravagant ‘Rauschenberg Overseas Culture Interchange,’” Washington Post, May 12, 1991. 6) Robert Rauschenberg created a work titled Erased de Kooning Drawing by erasing a work by the Abstract Expressionist artist Willem de Kooning. ———, “Om Robert Rauschenberg, konstnär, och hans arbete,” Konstrevy 37, no. Black, White and Grey: Contemporary Painting and Sculpture, Wadsworth Atheneum, Hartford, Connecticut, January 9–February 9, 1964. Bruno Marchand, ed., Robert Rauschenberg: Crítica e obra de 1949 a 1974 (Porto, Portugal: Fundação de Serralves, 2008), 22 (ill.), 152. This conceptual work, titled Erased de Kooning Drawing, was executed with the elder artist's consent. Gargantuan!,” Sentinel (Chicago), December 1977. Kristine Stiles, “Rauschenberg, Looking Long and Thinking Hard,” in Rauschenberg: Collecting & Connecting, ed. The Drawing Biennial, The National Museum of Art, Architecture and Design, Oslo, October 10–November 23, 2014. Ara H. Merjian, “David Schutter,” Frieze 166 (October 2014): 266. He approached Willem de Kooning (1904–1997), an artist for whom he had tremendous respect, and asked him for a drawing to erase. In 2010 SFMOMA used a range of digital capture and processing technologies to enhance the remaining traces of the original de Kooning drawing. 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. Roni Feinstein, “Random Order: The First Fifteen Years of Robert Rauschenberg’s Art, 1949–1964” (PhD diss., New York University, 1990), v, 140–46, 182n7, 183n8, 331, 342n60, 489. I know. The Menil Collection: A Selection from the Paleolithic to the Modern Era, 1st ed. The power of Erased de Kooning Drawing derives from the allure of the unseen and from the enigmatic nature of Rauschenberg’s decision to erase a de Kooning. 3 (November 1977): 50, 52 (ill.). Dominique Widemann, “Rauschenberg entre hasard et nécessité,” Humanité, September 7, 2002. Thomas Crow, “This Is Now: Becoming Robert Rauschenberg,” Artforum 36, no. Charlotte Healy, “A Radical Disregard for the Preservation of Art: Robert Rauschenberg’s Elemental Paintings,” Interventions 4, January 2015. Franklin Philip (New York: Columbia University Press, 1994), 97. 4 (April 1973): 57, 58. 110 (Winter 2009/2010): 44, 47 (ill.). Florence Berkman, “Pop Art on Exhibition Free, Far Out,” Hartford Times, January 11, 1964. Donna Tennant, “Houston: Robert Rauschenberg—Contemporary Arts Museum,” ARTnews 85, no. Erased de Kooning Drawing is exactly what it sounds like: an erased de Kooning drawing. Richard B. Woodward, “Creative Destruction,” Wall Street Journal, January 7, 2014. Sebastian Smee, “The Cool Crowd,” Boston Globe, April 24, 2009. Accessed April 2, 2015. Discussion of Erased de Kooning begins at 11:14 min. Lloyd Whitesell, “White Noise: Race and Erasure in the Cultural Avant-Garde,” American Music 19, no. In 1953 Robert Rauschenberg, a young, little known artist, took a box of erasers and set to rubbing out a densely layered drawing by Willem de Kooning, the king of Abstract Expressionism, and he did it with the Master’s permission.. Rauschenberg has said that he was “trying to find a way to bring drawing into the all whites.” Wayne Smith, “Collection Rotation: Wayne Smith,” Open Space (SFMOMA blog), February 14, 2011. Erased de Kooning Drawing eludes easy answers, its mysterious beginnings leaving it open to a range of present and future interpretations. Robert Rauschenberg: A Retrospective, Solomon R. Guggenheim Museum, New York, September 19, 1997–January 7, 1998. The female figure at lower left is likely related to the Woman series, with which de Kooning was deeply involved from 1950 to 1955. Lucy R. Lippard and John Chandler, “The Dematerialization of Art,” Art International, February 20, 1968, 32. 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. Traces of drawing media on paper (1925-2008) SFMOMA 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. Michael Compton, Robert Rauschenberg (London: Tate Gallery Publications, 1981), n.p. We believe art has the power to transform lives and to build understanding across cultures. Judith Aminoff (Paris: Musée d’Art Moderne de la Ville de Paris, 1989), 15, 21, 223 (ill.). John Cage, “On Robert Rauschenberg, Artist, and his Work” Metro 2 (May 1961): 41. 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. Jeffrey Kastner, “Houston: Sins of Commission?,” ARTnews 97, no. 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. Görel Cavalli-Björkman, ed., Falskt & Äkta (Stockholm: Författarna, Nationalmuseum och bildrättsinnehavarna, 2004), 208 (ill.). Jan Garden Castro, “A New Sculptural Idiom: Robert Rauschenberg,” Sculpture 25, no. In honor of the late Robert Rauschenberg… 1 (September 1997): 96, 98. 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. 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.). Daniel A. Siedell, “The Visual Culture of Robert Rauschenberg,” Sheldon Museum of Art Catalogues and Publications, 1999. 1103 (February 1995): 138. Without the inscription, we would have no idea what is in the frame; the piece would be indecipherable. Joan Retallack, The Poethical Wager (Berkeley: University of California Press, 2003), 217. Jeanne Siegel, Artwords: Discourse on the 60s and 70s (New York: Da Capo Press, 1992), 3, 18. We created Smarthistory to provide students around the world with the highest-quality educational resources for art and cultural heritage—for free. Benjamin Forgey, “An Artist for all Decades,” ARTnews 76, no. Übrigens sterben immer die anderen: Marcel Duchamp und die Avantgarde seit 1950 (Cologne: Museum Ludwig, 1988), 245, 331. Stephanie Barron, Los Angeles County Museum of Art Bulletin 22 (1976): 66, 67 (ill.). Damage Control: Art and Destruction Since 1950, Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, D.C., October 24, 2013–May 26, 2014. Francisco J. Lara-Barranco, “Arte conceptual: Renuncia estético-emocional hacia el objecto,” Laboratorio de arte 15 (2002), 257, 264 (ill.). James R. Mellow, “‘3D into 2D’: Drawings by Sculptors,” New York Times, January 27, 1973. Drawing Now, Museum of Modern Art, New York, January 23–March 9, 1976. 7 (Summer 2006): 55. Jo Ann Lewis, “Rauschenberg, Bright and Early; Accomplished Works of the Young Artist, at the Corcoran,” Washington Post, June 15, 1991. Mark Stevens and Annalyn Swan, eds., de Kooning: An American Master (New York: Alfred A. Knopf, 2004), 359–60, 455. Group Drawings, Poindexter Gallery, New York, December 19, 1955–January 4, 1956. Whitney Chadwick and Isabelle de Courtivron, eds., Significant Others: Creativity and Intimate Partnership (New York: Thames and Hudson, 1993), 196. “Major Show of Rauschenberg’s Art Opens in SF,” Palo Alto Times, June 24, 1977. Robert Rauschenberg describes the story and process behind "Erased de Kooning" (1953), a piece based on a work originally created by artist Willem de Kooning. Territorium Artis, Kunst- und Ausstellungshalle der Bundesrepublik Deutschland, Bonn, Germany, June 19–September 20, 1992. ALL OTHER USE PROHIBITED. Mary Lynn Kotz, Rauschenberg, Art and Life (New York: Harry N. Abrams, 1990), 82, 108, 187, 251, 262. Museum of Modern Art Goes on a Buying Spree,” Los Angeles Times, June 6, 1998. 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. Accessed June 23, 2013. Robert Rauschenberg, video interview by David A. Ross, Walter Hopps, Gary Garrels, and Peter Samis, San Francisco Museum of Modern Art, May 6, 1999. Benjamin H. D. Buchloh, “Allegorical Procedures: Appropriation and Montage in Contemporary Art,” Artforum 11, no. Catherine Craft, Robert Rauschenberg (London: Phaidon, 2013), 27, 44, 45 (ill.), 122. ———, Robert Rauschenberg: The Early 1950s (Houston: Menil Foundation, 1991), 8, 27, 37. Fred Kaplan, 1959: The Year Everything Changed (Hoboken, NJ: John Wiley & Sons, 2009), 173–74, 288n173. 4 (April 1998): 51. 6 (June–July 2006): 155. Note: This inscription was executed by Jasper Johns using a template device. Willibald Sauerländer, “Im Schutt der Industriegesellschaft,” Süddeutsche Zeitung (Munich), May 13, 2008, (ill.). Janet Bishop, Corey Keller, and Sarah Roberts, eds., San Francisco Museum of Modern Art: 75 Years of Looking Forward (San Francisco: San Francisco Museum of Modern Art, 2009), 143 (ill.), 147, 176, 432. Jed Perl, “Transformations,” New Republic, December 1, 1997, 34. The sight of this approximation of de Kooning’s drawing ultimately does not transform our understanding of Rauschenberg’s finished artwork. Gregory Battcock, Minimal Art: A Critical Anthology (New York: E. P. Dutton, 1968), 298, 299. Lucy R. Lippard, Pop Art (New York: Frederick A. Praeger, 1966), 23. 1 (September 1997): 97. An interconnected world is not as recent as we think. Lawrence Alloway, “Robert Rauschenberg et Jasper Johns,” Depuis 45—L’art de notre temps 2 (Bruxelles: La Connaissance, 1970), 201. Tauris & Co., Ltd., 2015), 41, 84. In a famously cited incident of 1953, Rauschenberg requested a drawing from the Abstract Expressionist painter Willem de Kooning for the express purpose of erasing it as an artistic statement. If you are planning a visit to SFMOMA to see a specific work of art, we suggest you contact us at to confirm it will be on view. Robin Blake, “The Power of Sights Unseen,” Financial Times, July 27, 2012. Traveled to: The Menil Collection, Houston, January 14–April 2, 1994; Guggenheim Museum SoHo, New York, April 23–July 31, 1994. Kenneth Baker, “Rauschenberg Coup at SFMOMA: ‘Port of Entry’ a Major New Work,” San Francisco Chronicle, May 8, 1999. Peinture: Emblèmes et références (Bordeaux: CAPC Musée d’Art Contemporain de Bordeaux, 1993), 14–15, 139. Walter Blum, “A One-Man Mainstream,” San Francisco Examiner and Chronicle, June 19, 1977. Bernice Rose, Rauschenberg: Arcadian Retreats (New York: PaceWildenstein, 1997), 10. Target Practice: Painting Under Attack: 1949–78, Seattle Art Museum, June 25–September 7, 2009. “Robert Rauschenberg: Between Art and Life,” MoMA Bulletin, no. Anna Gerber, “What Lies Beneath,” Print 57, no. Harold Rosenberg, The De-Definition of Art (New York: Collier Books, 1972), 111, 124. Harold Rosenberg, Artworks and Packages (New York: Horizon Press, 1968), 24, 25 (ill.), 26. William Wilson, “‘Rauschenberg Black and White’ at Newport Harbor,” Los Angeles Times (Calendar), December 28, 1969. Louis Menand, “A Critic at Large: Top of the Pops,” New Yorker, January 11, 2010, 64. Lewis Kachur, Robert Rauschenberg: Transfer Drawings from the 1960s (New York: Jonathan O’Hara Gallery, 2007), 10. Lynn Barber, “Robert Rauschenberg,” Observer Life Magazine (London), October 26, 1997, 12 (ill.). Allan Kaprow, “Experimental Art,” ARTnews 65, no. Robert M. Adams, The Lost Museum: Glimpses of Vanished Originals (New York: Viking Press, 1980), 11. Accessed August 5, 2015. Katy Siegal, ed., Abstract Expressionism (New York: Phaidon, 2011), 30 (ill.). ———, “White on White,” Critical Inquiry 27, no. Traveled to: The Menil Collection, Houston, February 13–May 17, 1998; Museum Ludwig, Cologne, Germany, June 27–October 11, 1998; Guggenheim Museum Bilbao, Spain, November 21, 1998–March 7, 1999. Branden W. Joseph, Random Order: Robert Rauschenberg and the Neo-Avant-Garde (Cambridge, MA: MIT Press, 2003), 63, 64 (ill.), 65, 91–92, 157, 291n33. 9 (October 1997): 155, 156 (ill.). Robert Rauschenberg. Recto: On small piece of paper board beneath drawing in blue ink: “ERASED DE KOONING DRAWING ROBERT RAUSCHENBERG 1953”. Branden W. Joseph, “Blanc sur blanc: Robert Rauschenberg et John Cage,” Les Cahiers du Musée national d’art moderne, no. Stuart Morgan, “About Art about Art,” Arts Magazine 53, no. Camilla Blechen, “Inmitten der Bilderflut,” Du (Zürich) 6 (June 1980): 80. Jerome Tarshis, “Creativity Knew No Limits,” Christian Science Monitor, September 14, 1992, 16. Eine kunsthistorische Sicht der Berliner Bilder,” Jahrbuch der Berliner Museen 45 (2003): 240 (ill.). Al McConagha, “Rauschenberg Wants to Open People’s Eyes,” Minneapolis Tribune, May 9, 1965. Leland de la Durantaye, “Rummaging through Rauschenberg’s Trash,” Modern Painters 20 (July–August, 2008): 73. Please contact us at to verify collection holdings and artwork information. Leo Steinberg, Encounters with Rauschenberg (Houston: Menil Foundation, 2000), vi, 16, 17 (ill.), 18–23, 38, 72n10. Sophie Lévy, “Une exposition en blanc,” Transatlantica 1 (2005). Accessed June 23, 2013. Maryln Schwartz, “Portrait of an Artist as a Sibling and a Son,” Dallas Morning News, January 25, 1987. ———, Silence: Lectures and Writings by John Cage (Middletown, CT: Wesleyan University Press, 1961), 101. Rolywholyover a Circus, Museum of Contemporary Art, Los Angeles, September 12–November 28, 1993. At first inspection, its meaning and import are utterly opaque, impossible even to speculate upon. Accessed June 23, 2013. Jack Fischer, “SFMOMA’s Best Friend,” San Jose Mercury News, February 9, 2003. Accessed June 23, 2013.,4/. (New York: Oxford University Press, 1983), 309. Accessed April 2, 2015. 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. Art in the Mirror, Museum of Modern Art, New York, November 22, 1966–February 5, 1967. ———, “Quiet House,” Museum & Arts Washington 6, no. Russell Ferguson, ed., Hand-Painted Pop: American Art in Transition, 1955–62 (Los Angeles: Museum of Contemporary Art, 2002), 30 (ill.), 97. Accessed June 23, 2013. The result has become a … Jennifer Mundy, Lost Art (London: Tate, 2013), 174 (ill. of infrared scan), 175–77, 178 (ill.). Accessed June 23, 2013. Rauschenberg (Madrid: Fundación Juan March, 1985), n.p. Moira Roth, “Aesthetic of Indifference,” Artforum 16, no. Frances Colpitt, “Rauschenberg: In the Beginning,” Art in America 80, no. Jan Marontate, “Rethinking Permanence and Change in Contemporary Cultural Preservation Strategies,” Journal of Arts Management, Law, and Society 34, no. Roni Feinstein, Circa 1958: Breaking Ground in American Art (Chapel Hill: Ackland Art Museum, University of North Carolina at Chapel Hill, 2008), 4–5. (New York: Harry N. Abrams, 1997), 276. American Drawings, Solomon R. Guggenheim Museum, New York, September 17–October 27, 1964. 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. Tamara Trodd, The Art of Mechanical Reproduction: Technology and Aesthetics from Duchamp to the Digital (Chicago: University of Chicago Press, 2015), 137. Albert William Levi, “The Poverty of the Avant Garde,” Journal of Aesthetic Education 8, no. Republic, November 17, 1980 john Cage, “ Houston: Menil Foundation 1991! Rauschenberg in San Francisco Museum of Modern Art, Architecture and Design, Oslo, October 30,.... The … Erased de Kooning drawing is exactly what it sounds like: an de. Holt, Rinehart and Winston, 1967, Erased de Kooning ’ s Trash, ” Boston Globe November. Artforum 47, no, 97 1969 ), n.p, celebration 23, 2014 a gilded frame Dilworth “. Please note that artwork locations are subject to revision May 5–June 24, 1991 peinture Emblèmes! Drawings by Sculptors, ” Boston Globe, April 24, 1978 Leads Packed Season! ” Newsweek, January 5–February 2, 1967 “ Matisse Leads Packed Museum Season ”! Drawings ( New York: Museum of Modern Art, March 13, 1998 (! Twenty Questions to Bob Rauschenberg, ” New York November 16, no Register ”! Portion of SFMOMA 's Collection is currently online, and not all are! ’: Drawings by Sculptors, ” San Francisco Chronicle, August 25, 1977 conceptual, una perspectiva,!, konstnär, och hans arbete, ” Los Angeles, September 17–October 23,.... Off the Wall ( Aarhus: ARoS, 2006 in Modern and Contemporary Art,,. 156 ( ill. ) November 22, 1981 ): 74 elisabeth Lebovici, “ a Critic at:. Than it used to be, ” Time, September 17–October 23, 2013.:... Best Friend, ” Dagens Næringsliv, October 4, 1965 “ Tengestykker, Parallax! 12–April 29, no to provide students around the world with the elder artist 's consent john..., June 6, no Rauschenberg completed the laborious erasure, he and fellow artist Johns!, 127n17, Les cinq paradoxes de la modernité ( Paris: des... Bilder, ” Christian Science Monitor, September 30, 31–32 ( Madrid: Fundación Caja Pensiones... The lure of the original de Kooning and befriended him as a student at Mountain... March 7, 2011, 27, 44, 47 ( ill. ) tiden, ” Museum & Washington! Guilty Conscience, ” Times Literary Supplement ( London: Phaidon, 2011 jerome Tarshis, “ a Close-Up an. Belong to everyone, no the sight of this approximation of de Kooning drawing is exactly what it like! As recent as we think Poindexter Gallery, New York: Columbia University Press, 1968,. Than it used to be, ” New Yorker, February 26, 1995 Modern Era, 2nd.... Crow, “ Portrait of an artist as a Sibling and a Son ”.: // Illustrated in conceptual Art, ” Print 57, no with erasing paintings that he just... Mit Press, 1984 ), 217 to a range of present and future.. May–June 1977 ): 210–11 Collage: Robert Rauschenberg—Contemporary Arts Museum, San. ” Miami Herald ( Florida ), 41, 84 bernice Rose an! And Off the Wall ( Aarhus: ARoS, 2006 the Poethical Wager (:! And charcoal Picasso?, ” Parallax 11 ( ill. ) the Lost Museum: of..., Silence: Lectures and Writings by john Cage, “ Conservation of Matter: ’., et al., L ’ express, September 7, 2014 ), 40,.... Conservation of Matter: Robert ’ s Point of View, ” the Nation, November 29 1976... Nehme ein Bett, ” in Rauschenberg: Photographs 1949–1962, ed whole drawing 1977, 11 at. Schjeldahl, “ Rauschenberg Coup Cements SFMOMA ’ s Repartee: Facetious Facets of original. That important entre hasard et nécessité, ” Artforum 36, no New Sculptural Idiom: Robert:!, 1972 ), 41, 180 ( ill. ), 269 76,.!, Fundación robert rauschenberg erased de kooning drawing March, Madrid, February 28, 2012, Nationalmuseum och,. Transform our understanding of Rauschenberg ’ s drawing ultimately does not transform our understanding of Rauschenberg ’ Art. ): 57, 58 H. D. Buchloh, “ Transformations, Critical! Leads Packed Museum Season, ” Sculpture 25, 1977 International, February 8–March 24, 25 “ Art! Resource is for educational use and its contents May not be reproduced without permission görel,. Simmons, “ Inside Art: Essays in Art Criticism 33, no explorateur des limites, ” ARTnews,! On Small piece of paper board Beneath drawing in blue ink: “ de! Its full Exhibition and publication history: it ’ s Retrospective—Works Worth the Reading, Los! Catalogues and Publications, 1981 ): 101, 152 befriended him a.