Edited with text by Leah Dickerman, Achim Borchardt-Hume. Text by Yve-Alain Bois, Andrianna Campbell, Hal Foster, Mark Godfrey, Hiroko Ikegami, Branden Joseph, Ed Krcma, Michelle Kuo, Pamela Lee, Emily Liebert, Richard Meyer, Helen Molesworth, Kate Nesin, Sarah Roberts, Catherine Wood.
“Offering both a complete overview and fresh perspective of the momentous artist, nearly everything that Rauschenberg tackled in his career is included here, including his printmaking, photography, and famous silkscreen paintings.” –Interview Magazine
The early 1950s, when Robert Rauschenberg launched his career, was the heyday of the heroic gestural painting of Abstract Expressionism. Rauschenberg challenged this tradition, inventing new intermedia forms of art making that shaped the decades to come. Published in conjunction with the inaugural 21st-century retrospective of this defining figure, this book offers fresh perspectives on Rauschenberg’s widely celebrated Combines (1954–64) and silkscreen paintings (1962–64). It also illuminates lesser-known periods within Rauschenberg’s career, including his work of the early 1950s and that from the late 1960s onward, now compelling and prescient to contemporary eyes.
Sixteen short essays by eminent scholars and emerging new writers focus on specific moments within Rauschenberg’s career, examining his creative production across an extraordinary range of media. Integrating new scholarship, documentary imagery and archival materials, Robert Rauschenberg is the first comprehensive catalogue of the artist’s career in 20 years, an important contribution to American cultural and intellectual history across disciplines and a necessary volume for anyone interested in art of the present day.
Over the span of six decades, Robert Rauschenberg (1925–2008) worked in an astonishing range of mediums including painting, sculpture, prints, photography and performance, and became one of the most transformative figures in postwar American culture. Working alone and in collaboration with artists, dancers, musicians and writers, Rauschenberg produced a vast body of work that continues to resonate today.
Leah Dickerman is The Marlene Hess Curator of Painting and Sculpture, The Museum of Modern Art. Achim Borchardt-Hume is Director of Exhibitions, Tate Modern. Yve-Alain Bois is Professor of Art History, Institute for Advanced Study, Princeton University. Andrianna Campbell is a Doctoral Candidate, CUNY Graduate Center. Hal Foster is Townsend Martin, Class of 1917, Professor of Art and Archaeology, Princeton University. Mark Godfrey is Senior Curator, International Art (Europe and Americas), Tate Modern. Hiroko Ikegami is Associate Professor, Graduate School of Intercultural Studies, Kobe University. Branden Joseph is Frank Gallipoli Professor of Modern and Contemporary Art, Art History and Archaeology, Columbia University. Ed Krcma is Lecturer in Art History, University of East Anglia. Michelle Kuo is Editor in Chief, Artforum International Magazine. Pamela Lee is Jeanette and William Hayden Jones Professor in American Art and Culture, Stanford University. Emily Liebert is Curatorial Assistant, Department of Painting and Sculpture, The Museum of Modern Art. Richard Meyer is Robert and Ruth Halperin Professor in Art History, Stanford University. Helen Molesworth is Chief Curator, The Museum of Contemporary Art, Los Angeles. Kate Nesin is Associate Curator, Art Institute of Chicago. Sarah Roberts is Andrew W. Mellon Associate Curator of Painting and Sculpture, San Francisco Museum of Modern Art. Catherine Wood is Senior Curator, International Art (Performance).
Robert Rauschenberg, "Retroactive II" (1963) is reproduced from Robert Rauschenberg.
PRAISE AND REVIEWS
The Telegraph
Mark Hudson
Robert Rauschenberg's Sixties riot is the show of the year
The Guardian
Adrian Searle
...impossibly rich and rewarding.
The Times
Rachel Campbell-Johnston
The breadth of his vision is mind-opening
Art + Auction
Angela M. H. Schuster
Reaffirms [Rauschenberg’s] seminal role in laying the foundation of today’s contemporary art practice
Interview
Devon Ivie
Offering both a complete overview and fresh perspective of the momentous artist, nearly everything that Rauschenberg tackled in his career is included here, including his printmaking, photography, and famous silkscreen paintings. His extraordinary artistic range will keep him in the forefront of modern art for years to come, and this book is a fitting artifact to document his legacy.
The Art Newspaper
Ben Luke
Rauschenberg was a harbinger of the 21st-century artist
Creative Review
Eliza Williams
It’s impossible not to feel once again that we still need Rauschenberg with us, now more than ever.
The New York Times
Holland Cotter
…art as rich, perplexing and permission-giving to other artists as anything the 20th century offered.
The New Yorker
Peter Schjeldahl
The example of his nimble intelligence and zestful audacity affected the sense of vocation—thoughts and motives, doubts and dreams—of subsequent generations, to this day.
Our Town
Mary Gregory
The magic of Rauschenberg’s work is that it doesn’t matter if it’s a piece of crumpled metal or a highly polished silkscreen; it’s his voice that comes through, in color, line, proportion and attitude.
Bookforum
Christopher Lyon
Robert Rauschenberg considers the entire range of the artist’s production, more so than previous catalogues have.
Artnet
The ethos that permeates Rauschenberg’s work, openness, commitment to dialogue and collaboration, and global curiosity, makes him, now more than ever, a touchstone for our troubled times.
Wide Walls
Neene Mythos
the forerunner of essentially every Postwar movement since Abstract Expressionism
The New York Times
Deborah Solomon
Art, to him, for better and worse, was not just something you made. It was something you did.
Artforum
Luke Skrebowski
Substantial… The publication deserves particular mention as an integral part of the show's achievement, as it does much to synthesize and extend a wide range of recent scholarship on Rauschenberg's work.
The Village Voice
Christian Viveros-Faune
Some artists leave an important mark; only a handful deliver the kind of legacy handed down by Robert Rauschenberg, the twentieth century’s art-gospel-spreading, medium-challenging, style-switching creative Johnny Appleseed.
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Robert Rauschenberg's "Bed" is among the most seminal of all seminal artworks of the twentieth century. Comprised of oil, pencil, toothpaste and red fingernail polish on pillow, quilt (previously owned by Dorothea Rockburne), and bedsheet mounted on wood supports, it is arguably the artist's first Combine. Produced in 1955, this hybrid artwork was completed seven years after Rauschenberg first encountered Josef Albers at Black Mountain College, four years after he met John Cage, three years after his travels through Europe and North Africa with painter and partner Cy Twombly, two years after he erased a drawing by Willem de Kooning and called it art, and one year from the time he met and became romantically involved with Jasper Johns, whose own masterpiece, "Flag," was also produced in 1955. One year later, Rauschenberg would write, "I consider the text of a newspaper, the detail of a photograph, the stitch in a baseball, and the filament in a light bulb as fundamental to the painting as brush stroke or enamel drip of paint. In the end, what one sees as my work is what I choose to make with no guarantee of enlightenment, humor, beauty or art." continue to blog
One of the most relentlessly experimental American artists of all time, Robert Rauschenberg choreographed and wrote the music for Pelican in 1963. First performed by Rauschenberg, Merce Cunningham dancer Carolyn Brown and Swedish Fluxus artist Per Olof Ultvedt at the America on Wheels pop festival (held inside a Washington, D.C. roller skating rink), it was revived in 1965 for the historic First New York Theater Rally organized by Jewish Museum director/Venice Biennale curator Alan Solomon. Featured photograph, by Peter Moore, captures Rauschenberg in the 1965 happening, performed with Carolyn Brown and Judson Church dancer Alex Hay, which took place at a former CBS television studio in New York. See the monumental Robert Rauschenberg retrospective exhibition opening today at MoMA, and order your copy of the superb, comprehensive exhibition catalog here! continue to blog
This weekend, The Museum of Modern Art opens the mega-Robert Rauschenberg traveling retrospective that everyone’s been talking about. "From first to last," the show is "almost impossibly rich and rewarding," Adrian Searle wrote in The Guardian when the show opened at Tate. "Paintings made with dirt and paintings of nothing at all, images that encapsulate the achievements and disasters of 1960s America, a stuffed goat that looks like it has been feeding from a painter’s palette, and a mud-bath gurgling liquid cement like a lava pool. The exhibition moves through a life and career at gathering pace, from the early 1950s to the artist’s death in 2008. Room after room arrest us with yet another creative swerve, a shift in medium, scale, formal attack and presence." continue to blog
FORMAT: Hbk, 9.5 x 12 in. / 392 pgs / 475 color. LIST PRICE: U.S. $75.00 LIST PRICE: CANADA $99 ISBN: 9781633450202 PUBLISHER: The Museum of Modern Art, New York AVAILABLE: 12/6/2016 DISTRIBUTION: D.A.P. RETAILER DISC: TRADE PUBLISHING STATUS: Active AVAILABILITY: In stock TERRITORY: NA ONLY
Published by The Museum of Modern Art, New York. Edited with text by Leah Dickerman, Achim Borchardt-Hume. Text by Yve-Alain Bois, Andrianna Campbell, Hal Foster, Mark Godfrey, Hiroko Ikegami, Branden Joseph, Ed Krcma, Michelle Kuo, Pamela Lee, Emily Liebert, Richard Meyer, Helen Molesworth, Kate Nesin, Sarah Roberts, Catherine Wood.
“Offering both a complete overview and fresh perspective of the momentous artist, nearly everything that Rauschenberg tackled in his career is included here, including his printmaking, photography, and famous silkscreen paintings.” –Interview Magazine
The early 1950s, when Robert Rauschenberg launched his career, was the heyday of the heroic gestural painting of Abstract Expressionism. Rauschenberg challenged this tradition, inventing new intermedia forms of art making that shaped the decades to come. Published in conjunction with the inaugural 21st-century retrospective of this defining figure, this book offers fresh perspectives on Rauschenberg’s widely celebrated Combines (1954–64) and silkscreen paintings (1962–64). It also illuminates lesser-known periods within Rauschenberg’s career, including his work of the early 1950s and that from the late 1960s onward, now compelling and prescient to contemporary eyes.
Sixteen short essays by eminent scholars and emerging new writers focus on specific moments within Rauschenberg’s career, examining his creative production across an extraordinary range of media. Integrating new scholarship, documentary imagery and archival materials, Robert Rauschenberg is the first comprehensive catalogue of the artist’s career in 20 years, an important contribution to American cultural and intellectual history across disciplines and a necessary volume for anyone interested in art of the present day.
Over the span of six decades, Robert Rauschenberg (1925–2008) worked in an astonishing range of mediums including painting, sculpture, prints, photography and performance, and became one of the most transformative figures in postwar American culture. Working alone and in collaboration with artists, dancers, musicians and writers, Rauschenberg produced a vast body of work that continues to resonate today.
Leah Dickerman is The Marlene Hess Curator of Painting and Sculpture, The Museum of Modern Art. Achim Borchardt-Hume is Director of Exhibitions, Tate Modern. Yve-Alain Bois is Professor of Art History, Institute for Advanced Study, Princeton University. Andrianna Campbell is a Doctoral Candidate, CUNY Graduate Center. Hal Foster is Townsend Martin, Class of 1917, Professor of Art and Archaeology, Princeton University. Mark Godfrey is Senior Curator, International Art (Europe and Americas), Tate Modern. Hiroko Ikegami is Associate Professor, Graduate School of Intercultural Studies, Kobe University. Branden Joseph is Frank Gallipoli Professor of Modern and Contemporary Art, Art History and Archaeology, Columbia University. Ed Krcma is Lecturer in Art History, University of East Anglia. Michelle Kuo is Editor in Chief, Artforum International Magazine. Pamela Lee is Jeanette and William Hayden Jones Professor in American Art and Culture, Stanford University. Emily Liebert is Curatorial Assistant, Department of Painting and Sculpture, The Museum of Modern Art. Richard Meyer is Robert and Ruth Halperin Professor in Art History, Stanford University. Helen Molesworth is Chief Curator, The Museum of Contemporary Art, Los Angeles. Kate Nesin is Associate Curator, Art Institute of Chicago. Sarah Roberts is Andrew W. Mellon Associate Curator of Painting and Sculpture, San Francisco Museum of Modern Art. Catherine Wood is Senior Curator, International Art (Performance).
