#CLANDESTINY DEFINITION SERIES#
He further developed this series by incorporating objects such as taxidermy, quilts, photographs, shoes, and constructed elements into large tableaus and freestanding structures. Rauschenberg continued to produce what he deemed Elemental Sculpture, comprised of discarded materials amassed from his neighborhood, and created a series of Red Paintings (1953–54), applying oil paint on a ground of fabric, newspaper, and canvas, in gestural brushstrokes and drips that echoed Abstract Expressionism. By the end of 1953 he met Jasper Johns and the two became strong supporters of each other’s work and collaborated on window displays.
Returning to New York the following spring, Rauschenberg’s work became increasingly conceptual, generating Automobile Tire Print, with John Cage (1953), and Erased de Kooning Drawing (1953).
In 1952, Rauschenberg traveled to Italy and North Africa with Cy Twombly, taking photographs and creating collage and assemblage-based works comprised of fabric, found images, and small fetish objects. This return led to the production of his Night Blooming series (1951), in which he integrated dirt and gravel into predominantly black canvases, and then his monochromatic White Painting series (1951) engaged with the perception of light and shadow. Rauschenberg returned to Black Mountain in 1951, instigated by his meeting with John Cage. Rauschenberg’s exhibition at Betty Parsons resonated with Jack Tworkov and Leo Castelli, who invited him to participate in The Ninth Street Show in 1951. In 1951, Rauschenberg received his first solo exhibition of paintings at Betty Parsons Gallery, which coincided with his first group exhibition, held at The Museum of Modern Art, New York, featuring Female Figure (circa 1950). To sustain his practice, he produced window displays for Bonwit Teller and Tiffany & Co., New York. He relocated to New York the following year, where he enrolled at the Art Students League and met fellow student Cy Twombly. Rauschenberg enrolled in Black Mountain College in 1948, studying form and color theory under Josef Albers. Navy (1944–45) and continued, with the assistance of the GI Bill, at the Kansas City Art Institute (1947) and then the Académie Julian in Paris (1948). Rauschenberg’s artistic aspirations arose during his service in the U.S. Robert Rauschenberg imparted a legacy of innovation that continues to engage generations of artists, and although he eluded defining affiliations, his interdisciplinary practice positioned him at the forefront of nearly every artistic movement following Abstract Expressionism.
0 kommentar(er)
