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Rauschenberg’s monumental print Autobiography (1968) is a summation work that brings together the life and work of the then forty-three-year-old artist. Printed on three sheets of paper in an edition of 2,000, under the sponsorship of Marion Javits, wife of the U.S. Senator Jacob Javits, Autobiography is the first fine art print made on a billboard press.
22 de may. de 2001 · The highlight of this program is Rauschenberg's autobiographical work, the multi-paneled "The 1/4 Mile or 2 Furlong Piece." Seen for the first time in its entirety, this monumental work-in-progress exemplifies the originality and genius of an artist always ahead of his time.
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Robert Rauschenberg: Man at Work will be presented for one show only at 7 p.m. on Thursday, June 21, at the Fine Arts Theatre.
1 de dic. de 2016 · Robert Rauschenberg Untitled (Spread) 1983, The Robert Rauschenberg Foundation (New York) ‘Six sensational decades of work finally reveal the man in full’ The Guardian ‘Robert Rauschenberg is America’s Leonardo – ceaselessly inventive, a mind in perpetual revolution.
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. He approached Willem de Kooning (1904–1997), an artist for whom he had tremendous respect, and asked him for a drawing to erase.
1 de ene. de 1997 · From the 1950s until his death in 2008, Robert Rauschenberg's groundbreaking mixed-media pieces mesmerized the art world. This 1998 documentary takes viewers inside Rauschenberg's Florida studio to explore his remarkable life and work. The film examines Rauschenberg's use of unique materials and includes a behind-the-scenes look at The 1/4 Mile or 2 Furlong Piece, a massive autobiographical ...
IT IS AN UNFORGETTABLE PORTRAIT of the artist as a young man: A tousle-haired Robert Rauschenberg, in rolled-up shirtsleeves and paint-spattered jeans, stands barefoot amid a body of work, selections from a group of blueprints—primitive photograms—that he and Susan Weil, then his wife, produced collaboratively from about 1949 to 1951.
