Willem de Kooning (April 24, 1904 – March 19, 1997) was a Dutch American abstract expressionist artist who was born in Rotterdam, the Netherlands.

In the post-World War II era, de Kooning painted in a style that came to be referred to as Abstract expressionism or Action painting, and was part of a group of artists that came to be known as the New York School. Other painters in this group included Jackson Pollock, Franz Kline, Arshile Gorky, Mark Rothko, Hans Hofmann, Adolph Gottlieb, Robert Motherwell, Philip Guston and Clyfford Still.

In September 2011 de Kooning's work was honored with a large-scale retrospective exhibition: de Kooning: A Retrospective September 18, 2011–January 9, 2012 at MoMA in New York City. Organized by John Elderfield it was the first major museum exhibition devoted to the full breadth and depth of de Kooning's career, containing nearly 200 works.

Biography[link]

De Kooning's parents, Leendert de Kooning and Cornelia Nobel, were divorced when he was about five years old, and he was raised by his mother and stepfather.^[1] His early artistic training included eight years at the Rotterdam Academy of Fine Arts and Techniques.^[2] In the 1920s he worked as an assistant to the art director of a Rotterdam department store.^[3] de Kooning was one of the thirty-eight artists chosen from a general invitation to New York City metropolitan artists to design and paint the 105 public murals at the 1939 New York World’s Fair.^[4] His fellow muralist, David Margolis later recounted their 1932 trips to the Savoy Ballroom and de Kooning's "keen interest in jazz."^[5]

In 1938, probably under the influence of Arshile Gorky, de Kooning embarked on a series of male figures, including Two Men Standing, Man, and Seated Figure (Classic Male), while simultaneously embarking on a more purist series of lyrically colored abstractions, such as Pink Landscape and Elegy. As his work progressed, the heightened colors and elegant lines of the abstractions began to creep into the more figurative works, and the coincidence of figures and abstractions continued well into the 1940s. This period includes the representational but somewhat geometricized Woman and Standing Man, along with numerous untitled abstractions whose biomorphic forms increasingly suggest the presence of figures. By about 1945 the two tendencies seemed to fuse perfectly in Pink Angels.

In 1938, de Kooning met Elaine Marie Fried, later known as Elaine de Kooning, whom he married in 1943. She also became a significant artist. During the 1940s, he became increasingly identified with the Abstract Expressionist movement and was recognized as one of its leaders into the mid-1950s, while notoriously stating: "It is disastrous to name ourselves."^[3] In 1948, de Kooning had his first one-man show, which consisted of his black-and-white enamel compositions, at the Charles Egan Gallery in New York. He taught at Black Mountain College in North Carolina in 1948 and at the Yale School of Art in 1950/51. In 1950, de Kooning was one of 17 prominent Abstract Expressionists and avant-garde artists to sign an open letter to the New York Metropolitan Museum of Art accusing it of hostility towards “advanced art.”^[6]

The Willem de Kooning estate is represented by The Pace Gallery.

Mature works[link]

In 1946, too poor to buy artists' pigments, he turned to black and white household enamels to paint a series of large abstractions; of these works, Light in August (c. 1946) and Black Friday (1948) are essentially black with white elements, whereas Zurich (1947) and Mailbox (1947/48) are white with black. Developing out of these works in the period after his first show were complex, agitated abstractions such as Asheville (1948/49), Attic (1949), and Excavation (1950; Art Institute of Chicago), which reintroduced color and seem to sum up with taut decisiveness the problems of free-associative composition he had struggled with for many years.

The hallmark of de Kooning's style was an emphasis on complex figure ground ambiguity. Background figures would overlap other figures causing them to appear in the foreground, which in turn might be overlapped by dripping lines of paint thus positioning the area into the background.

De Kooning had painted women regularly in the early 1940s and again from 1947 to 1949. The biomorphic shapes of his early abstractions were derived from objects found in the studio. But it was not until 1950 that he began to explore the subject of women exclusively. In the summer of that year he began Woman I (located at the Museum of Modern Art, New York City), which went through innumerable metamorphoses before it was finished in 1952.

During this period he also created other paintings of women. These works were shown at the Sidney Janis Gallery in 1953 and caused a sensation, partially because they were figurative when most of his fellow Abstract Expressionists were painting abstractly, but also because of their blatant imagery. Aggressive brushwork and strategically placed high-key colors in these paintings merged with images of toothy snarls, overripe, pendulous breasts, enlarged eyes and blasted extremities to reveal a woman seemingly congruent with some of modern man's most widely held sexual fears. Some of these paintings also appeared to reference early Mesopotamian / Akkadian works, with the large eyes and squarely chiseled bodies.

The Woman paintings II through VI (1952–53) are all variants on this theme, as are Woman and Bicycle (1953; Whitney Museum of American Art, New York) and Two Women in the Country (1954). The deliberate vulgarity of these paintings contrast with the French painter Jean Dubuffet's Corps de Dame series of 1950, in which iconic female/goddess imagery was created with a topography of earth colours, and are generally perceived as less provocative.

From the late 1950s to the early 1960s, De Kooning entered a new phase of nearly pure abstractions more related to landscape than to the human figure. These paintings, such as Bolton Landing (1957) and Door to the River (1960), bear broad brushstrokes and calligraphic tendencies similar to works of his contemporary Franz Kline.

In 1963, De Kooning moved permanently to East Hampton, Long Island,^[8] and returned to depicting women while also referencing the landscape in such paintings as Woman, Sag harbor and Clam Diggers. He also turned to sculpture in later years, creating a number of works that were later cast in bronze.

In later years, de Kooning was diagnosed with the probability of suffering from Alzheimer's disease.^[3] After his wife Elaine died on February 1, 1989, his daughter, Lisa, and his lawyers, Lee and John Eastman were granted guardianship over De Kooning.^[3]

There is much debate over the significance of his 1980s paintings, which became clean, sparse, and almost graphic, while alluding to the biomorphic lines of his early works. Some have said that his very last works present a new direction of compositional complexity and color juxtaposition, and are prophetic of directions that some current painters continue to pursue. Some speculate that his mental condition and years of alcoholism had rendered him unable to carry out the mastery indicated in his early works. Others claim some of these paintings were removed from the studio and exhibited before de Kooning was finished with them. Unfortunately, de Kooning's last works have not been afforded the amount of critical commentary or substantial serious assessment that his earlier works received.^[9]

Exhibitions[link]

De Kooning's first solo show took place at the Charles Egan Gallery, New York, in 1948. His work has since been the subject of numerous museum retrospectives, including the Museum of Modern Art (1968, 2011–12), the Whitney Museum of American Art (1983), and the National Gallery of Art, Washington, D.C. (1994).

In 1974 the Walker Art Center, Minneapolis, organized a show of De Kooning's drawings and sculpture that traveled throughout the United States.^[10] In 1995, the San Francisco Museum of Modern Art organized the first major exhibition of paintings from the eighties, which traveled to international venues. Recent exhibitions of the 1980s works include "Willem de Kooning: Late Paintings", which opened at the State Hermitage Museum in St. Petersburg, Russia, in 2006 and traveled to the Museo Carlo Bilotti, Rome.^[11]

Recognition[link]

On September 14, 1964, De Kooning was presented with the Presidential Medal of Freedom by President Lyndon Johnson. In 1986, he was awarded the National Medal of Arts. In 1979, he and Eduardo Chillida received the Andrew W. Mellon Prize, which was accompanied by an exhibition at the Carnegie Institute, Pittsburgh.^[12]

Art market[link]

As the style of his later works continued to evolve into early 1989, his vintage works drew increasing profits; at Sotheby's auctions Pink Lady (1944) sold for US$3.6 million in 1987 and Interchange (1955) brought $20.6 million in 1989. In November 2006, Kooning's Woman III was sold by David Geffen to Steven A. Cohen for $137.5 million, making it the second most expensive painting ever sold at that time.

Estate[link]

Since 1989, De Kooning's oeuvre was controlled primarily by sculptor Lisa de Kooning, his only child and heir; attorney John Eastman, the son of de Kooning’s longtime attorney Lee Eastman; and John Silberman, an attorney who represented Lisa and Eastman in their court application to be appointed as de Kooning’s conservators and later represented his estate. De Kooning's art collection was then valued at $50 million to $150 million.^[13] By 1996, Lisa de Kooning and Eastman decided to put the work into a trust for the artist's benefit that would become a foundation after his death.^[14] After de Kooning’s death, Lisa and Eastman became co-executors of his estate, and, in an effort to protect the market for his work, they won a court order to seal details about the estate’s contents. They directed the dispersal of works in de Kooning’s possession at the time of his death and created the Willem de Kooning Foundation, which was established in 2001 and received a portion of the collection not sold or kept by Lisa De Kooning.^[15] The estate does have a small portion of art from the 1970s, but most of its work is from the 1980s.^[16] Since its establishment, the foundation has sold 18 works for a total of $13 million with the goal of funding its mission to catalogue and maintain its own collection and archive and facilitate museum exhibitions and scholarly research.^[17]

In 2010, the Pace Gallery was given the rights to the estate of Willem de Kooning. The estate had previously been handled by the Gagosian Gallery^[18], as well as by Matthew Marks, Lucy Mitchell-Innes and Anthony d'Offay.^[19]

See also[link]

• Abstract expressionism
• Action painting
• Elaine de Kooning
• Impasto
• Women in art
• Woman III

Notes[link]

1. ^ Willem de Kooning, Britannica.com, p1
2. ^ Marcia Brennan, Modernism's Masculine Subjects: Matisse, the New York School, and Post-Painterly Abstraction, MIT Press, p. 71. ISBN 0-262-02571-X
3. ^ ^{a b c d} Barbara Hess, Willem de Kooning 1904-1997: Content as a Glimpse, Taschen, 2004, p87. ISBN 3-8228-2135-7
4. ^ Monaghan, Frank, ed. (1939). Official Guide Book of the New York World's Fair 1939. New York: Exposition Publications, Inc.. pp. 30–31. 
5. ^ "Abstract Expressionism 1932". 1932: Willem de Kooning and Nini move to Greenwich Village.. Warholstars.org. http://www.warholstars.org/abstractexpressionism/timeline/abstractexpressionism32.html. Retrieved December 27, 2011. 
6. ^ Grimes, William (April 11, 2011). "Hedda Sterne, an Artist of Many Styles, Dies at 100". New York Times. http://www.nytimes.com/2011/04/12/arts/design/hedda-sterne-artist-of-many-styles-dies-at-100.html?_r=1&ref=obituaries. Retrieved 18 April 2011. 
7. ^ Abstract Expressionism, by Barbara Hess (Taschen, 2005), p. 15.
8. ^ Willem de Kooning at Encyclopædia Britannica
9. ^ Perl, Jed (2011-11-03). "The Abstract Imperfect". The New Republic. http://www.tnr.com/article/art/magazine/96121/the-abstract-imperfect. Retrieved 19 October 2011. 
10. ^ Willem De Kooning Guggenheim Collection.
11. ^ Willem de Kooning: The Last Beginning, September 18 - October 27, 2007 Gagosian Gallery, New York.
12. ^ Willem De Kooning Guggenheim Collection.
13. ^ Andrew L. Yarrow (August 19, 1989), Conservators Named for de Kooning Assets New York Times.
14. ^ Carol Vogel (October 6, 1997), De Kooning Intrigues Live On New York Times.
15. ^ Kelly Devine Thomas (September 8, 2011), Shaping de Kooning’s Legacy ARTnews.
16. ^ Carol Vogel (October 6, 1997), De Kooning Intrigues Live On New York Times.
17. ^ Kelly Devine Thomas (September 8, 2011), Shaping de Kooning’s Legacy ARTnews.
18. ^ Carol Vogel (September 30, 2010), Pace Gallery to Represent De Kooning Estate New York Times.
19. ^ Laura Stewart (April 12, 1997), What price Willem de Kooning? The Daily Telegraph.

References[link]

• Marika Herskovic, American Abstract and Figurative Expressionism Style Is Timely Art Is Timeless An Illustrated Survey With Artists' Statements, Artwork and Biographies. (New York School Press, 2009). ISBN 978-0-9677994-2-1. pp. 76-79; p. 127; p. 136.
• Marika Herskovic, American Abstract Expressionism of the 1950s: An Illustrated Survey, (New York School Press, 2003). ISBN 0-9677994-1-4. pp. 94-97.
• Marika Herskovic, New York School Abstract Expressionists: Artists Choice by Artists, (New York School Press, 2000). ISBN 0-9677994-0-6. p. 16; p. 36; p. 106-109.
• Edvard Lieber, Willem de Kooning: Reflections in the Studio, 2000, Harry N. Abrams, Inc. ISBN 0-8109-4560-6
• ART USA NOW Ed. Lee Nordness; Vol.1, (Viking Press, 1963.) pp. 134–137.
• The American Presidency Project
• Lifetime Honors - National Medal of Arts
• Richard Shiff, On "Between Sense and de Kooning", The Montréal Review, September 2011.

External links[link]

Wikimedia Commons has media related to: Willem de Kooning

Wikiquote has a collection of quotations related to: Willem de Kooning

• Willem de Kooning at the Museum of Modern Art
• Willem de Kooning at Find a Grave
• Links to reproductions
• Willem de Kooning at Xavier Hufkens, Brussels
• Woman in the Pool (1969) Phoenix Art Museum
• Willem de Kooning in the National Gallery of Australia's Kenneth Tyler collection

Kooning may refer to:

• Willem de Kooning (1904-1997), Dutch/Dutch-American artist
• Elaine de Kooning (1918-1989), American artist

This disambiguation page lists articles associated with the same title. If an internal link led you here, you may wish to change the link to point directly to the intended article.

Robert Rauschenberg
Robert Rauschenberg in 1999
Birth name	Milton Ernest Rauschenberg
Born	(1925-10-22)October 22, 1925 Port Arthur, Texas, United States
Died	May 12, 2008(2008-05-12) (aged 82) Captiva, Florida, United States
Nationality	American
Field	Assemblage
Training	Kansas City Art Institute Académie Julian Black Mountain College Art Students League of New York
Movement	Neo-Dada
Works	Canyon (1959), Monogram (1959)

Robert Rauschenberg (October 22, 1925 – May 12, 2008) was an American artist who came to prominence in the 1950s transition from Abstract Expressionism to Pop Art. Rauschenberg is well known for his "Combines" of the 1950s, in which non-traditional materials and objects were employed in innovative combinations. Rauschenberg was both a painter and a sculptor and the Combines are a combination of both, but he also worked with photography, printmaking, papermaking, and performance.^[1][2] He was awarded the National Medal of Arts in 1993.^[3]

Rauschenberg lived and worked in New York City as well as on Captiva Island, Florida until his death from heart failure on May 12, 2008.^[4]

Life and career[link]

Rauschenberg was born as Milton Ernest Rauschenberg in Port Arthur, Texas, the son of Dora Carolina (née Matson) and Ernest R. Rauschenberg.^[5][6][7] His father was of German and Cherokee ancestry and his mother of Anglo-Saxon descent.^[8][9] His parents were Fundamentalist Christians.^[8] Rauschenberg studied at the Kansas City Art Institute and the Académie Julian in Paris, France, where he met the painter Susan Weil. In 1948 Rauschenberg and Weil decided to attend Black Mountain College in North Carolina.^[10][11]

Josef Albers, a founder of the Bauhaus, became Rauschenberg's painting instructor at Black Mountain. Albers' preliminary courses relied on strict discipline that did not allow for any "uninfluenced experimentation".^[12] Rauschenberg described Albers as influencing him to do "exactly the reverse" of what he was being taught.^[4]

From 1949 to 1952 Rauschenberg studied with Vaclav Vytlacil and Morris Kantor at the Art Students League of New York,^[13] where he met fellow artists Knox Martin and Cy Twombly.^[14]

Rauschenberg married Susan Weil in 1950. Their only child, Christopher, was born July 16, 1951. They divorced in 1953.^[15] 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.^[16] An article by Jonathan D. Katz states that Rauschenberg's affair with Twombly began during his marriage to Susan Weil.^[17]

Rauschenberg died on May 12, 2008, on Captiva Island, Florida.^[18] He died of heart failure after a personal decision to go off life support,.^[19][20] Rauschenberg is survived by his partner of 25 years, artist Darryl Pottorf,^[20] his former assistant.^[13] Rauschenberg is also survived by his son, photographer Christopher Rauschenberg, and his sister, Janet Begneaud.

Artistic contribution[link]

Rauschenberg's approach was sometimes called "Neo Dadaist," a label he shared with the painter Jasper Johns.^[21] Rauschenberg was quoted as saying that he wanted to work "in the gap between art and life" suggesting he questioned the distinction between art objects and everyday objects, reminiscent of the issues raised by the "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 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 1969, NASA invited Rauschenberg to witness the launch of Apollo 11. In response to this landmark event, Rauschenberg created his Stoned Moon Series of lithographs. This involved combining diagrams and other images from NASA's archives with photographs from various media outlets, as well as with his own work.^[22][23]

As of 2003 he worked from his home and studio in Captiva, Florida.

In a famously cited incident of 1953, Rauschenberg erased a drawing by de Kooning, which he obtained from his colleague for the express purpose of erasing it as an artistic statement. The result is titled Erased de Kooning Drawing.^[24][25] 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.

[edit] The White Paintings, Black Paintings, and Red Paintings

In 1951 Rauschenberg created his "White Paintings," in the tradition of monochromatic painting, whose purpose was to reduce painting to its most essential nature, and to subsequently lead to the possibility of pure experience.^[26] The "White Paintings" were shown at Eleanor Ward's Stable Gallery in New York during October 1953. They appear at first to be essentially blank, white canvas. However, one commentator said that "…rather than thinking of them as destructive reductions, it might be more productive to see them, as John Cage did, as hypersensitive screens – what Cage suggestively described as ‘airports of the lights, shadows and particles.’ In front of them, the smallest adjustments in lighting and atmosphere might be registered on their surface.^[27] Rauschenberg himself said that they were affected by ambient conditions, "so you could almost tell how many people are in the room." The Black Paintings of 1951 like the White Paintings were executed on multiple panels and were single colour works. Here Rauschenberg incorporated pieces of newspaper into the painting working the paper into the paint so that sometimes newspaper could be seen and in other places could not. By 1953-1954 Rauschenberg had moved from the monochromatic paintings of the White Painting and Black Painting series, to the Red Painting series. These paintings were created with diverse kinds of paint applications of red paint, and with the addition of materials such as wood, nails, newsprint and other materials to the canvas created complex painting surfaces, and were forerunners of Rauschenberg's well-known Combine series.^[26]

Combines[link]

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."^[28]

Rauschenberg's comment concerning the gap between art and life can be seen as a statement which provides the departure point for an understanding of his contributions as an artist. In particular his series of works which he called Combines served as instances in which the delineated boundaries between art and sculpture were broken down so that both were present in a single work of art. Technically "Combines" refers to Rauschenberg's work from 1954 to 1962, but the artist had begun collaging newsprint and photographic materials in his work and the impetus to combine both painting materials and everyday objects such as clothing, urban debris, and taxidermied animals such as in Monogram^[29] continued throughout his artistic life.

His transitional pieces that led to the creation of Combines were Charlene (1954) and Collection (1954) where he combined collage technique and started to incorporate objects such as scarves, comic strips, and faux architectural cornice pieces. Considered one of the first of the Combines, Bed (1955) was created by dripping red paint across a quilt. The quilt was later stretched and displayed as a work of art. Some critics according to the UK Telegraph considered the work to be a symbol for violence and rape.^[30]

Critics originally viewed the Combines in terms of the formal aspects of art, shape, color, texture, and the composition and arrangement of these. This 1960s view has changed over time so that more recently critics and art historians see the Combines as carrying codified messages difficult to decipher because there is no apparent order to the presentation of the objects.

Performance and dance[link]

From the early 1950s until 2007 Rauschenberg designed for dance. He began designing sets and costumes for Merce Cunningham, Paul Taylor, and Trisha Brown and for his own productions.^[31] In the 1960s he was involved in the radical dance-theater experiments at and around Judson Memorial Church in Greenwich Village and was close to Cunningham-connected experimentalists like Carolyn Brown, Viola Farber, and Steve Paxton; he even choreographed himself. Rauschenberg’s full-time connection to the Cunningham company ended with its 1964 world tour.^[32]

Commissions[link]

In 1986, Rauschenberg was commissioned by BMW to paint a full size BMW 635 CSi for the sixth installment of the famed BMW Art Car Project. Rauschenberg's contribution was the first to include the wheels in the project, as well as incorporating previous works of art into the design. He also won a Grammy Award for his album design of Talking Heads' album Speaking in Tongues.

Exhibitions[link]

In 1951 Rauschenberg had his first one-man show at the Betty Parsons Gallery^[33] and in 1954 had a second one-man show at the Charles Egan Gallery.^[34] In 1955, at the Charles Egan Gallery, Rauschenberg showed Bed (1955), one of his first and certainly most famous Combines.^[35]

A retrospective at the Solomon R. Guggenheim Museum, New York (1997), traveled to Houston, Cologne, and Bilbao (through 1999). Recent exhibitions were presented at the Metropolitan Museum of Art, New York (2005; traveled to Museum of Contemporary Art, Los Angeles, Centre Georges Pompidou, Paris, and Moderna Museet, Stockholm, through 2007), and at the Peggy Guggenheim Collection, Venice (2009; traveled to the Tinguely Museum, Basel, Guggenheim Museum Bilbao, and Villa e Collezione Panza, Varese, through 2010).^[36]

A memorial exhibition of photographs opened October 22, 2008, (on the occasion of what would have been his 83rd birthday) at the Guggenheim Museum.^[37]

Legacy[link]

Already 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 1990, Rauschenberg created the Robert Rauschenberg Foundation (RFF) to promote awareness of the causes he cared about, such as world peace, the environment and humanitarian issues. He also set up Change, Inc., to award one-time grants of up to $1,000 to visual artists based on financial need. Rauschenberg's will, filed in Probate Court on October 9, 2008, named his charitable foundation as a major beneficiary, along with Darryl Pottorf, Christopher Rauschenberg, Begneaud, his nephew Byron Richard Begneaud, and Susan Weil Kirschenbaum. The amounts to be given to the beneficiaries were not named, but the estate is "worth millions," said Pottorf, who is also executor of the estate.^[38]

The RRF today owns many works by Rauschenberg from every period of his career. In 2011, the foundation, in collaboration with Gagosian Gallery, presented “The Private Collection of Robert Rauschenberg,” selections from Rauschenberg's personal art collection; proceeds from the collection helped fund the endowment established for the foundation’s philanthropic activities.^[39] Also in 2011, the foundation launched its “Artist as Activist” print project and invited Shepard Fairey to focus on an issue of his choice. The editioned work he made was sold to raise funds for the Coalition for the Homeless.^[40] The RRF artist residency takes place at the late artist’s property in Captiva Island, Florida. The foundation also maintains the 19th Street Project Space in New York.

Art market[link]

In 2009, the Gagosian Gallery was selected to represent the estate of Rauschenberg; his work had previously been handled by Pace Gallery for more than 15 years. In 2010, Studio Painting (1960-61), one of Rauschenberg's "Combines", originally estimated at $6 million to $9 million, was bought from the collection of Michael Crichton for $11 million at Christie's, New York.^[41]

See also[link]

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

References[link]

Further reading[link]

• 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 978-0-87982-007-7.
• Marika Herskovic, New York School Abstract Expressionists Artists Choice by Artists, (New York School Press, 2000.) ISBN 0-9677994-0-6. p. 8; p. 32; p. 38; p. 294-297.
• Fugelso, Karl. "Robert Rauschenberg's Inferno Illuminations." In: Postmodern Medievalisms. Ed. Richard Utz and Jesse G. Swan (Cambridge: D.S. Brewer, 2004). pp. 47–66.
• Sweeney, Louise M. "Rauschenberg's Worldwide Quest for Art and Ideas," The Christian Science Monitor, May 20, 1991.

External links[link]

• Robert Rauschenberg Foundation 2012

Wikimedia Commons has media related to: Robert Rauschenberg

• Robert Rauschenberg at the Museum of Modern Art
• 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
• disorientations.com Obituary
• Dossier : Robert Rauschenberg, Combines (1953-1964) , exhibition at the Centre Pompidou, 2006
• Cardboard VI from the Cardboard Series (1971)
• Linoleum (After Robert Rauschenberg) Piece on Linoleum and Erased de Kooning Drawing at Triple Canopy (online magazine)