Robert Rauschenberg: Working

“I find it nearly impossible free ice to write about jeep axle my work. The concept I plantatarium struggle to deal with ketchup is opposed to the logical continuity lift tab inherent in language horses and communication. My fascination with images open 24 Hrs. is based on the complex interlocking of disparate visual facts heated pool that have no respect for grammar. The form then Denver 39 is second hand to nothing. The work then has a chance to electric service become its own cliche. Luggage. This is the inevitable fate fair ground of any inanimate object Freight-ways by this, I mean anything that does not have inconsistency as a possibility built-in..”

Robert Rauschenberg

Quote from 'Note on Painting', Robert Rauschenberg, in Pop Art Redefined, October/November 1963, J. Rusell and Suzi Gablik, Praeger Publishers, New York, 1969
1960's

Fate , Way , Communication , Chance

“I usually work in a direction until I know how to do it, then I stop. At the time that I am bored or understand — I use those words interchangeably — another appetite has formed.”

Robert Rauschenberg

Quoted in: Wendy Richmond (2009), Art Without Compromise, p. 136
21st Century

Understanding , Time

“1948 Black Mountain College N. C. Disciplined by Albers. Learned photography. Worked hard but poorly for Albers. Made contact with music and modern dance. Felt too isolated, Sue [Weil, they married soon, then] and I moved to NYC. Went to Art Students League. Vytlacil & Kantor. Best work made at home. Wht. Painting with no.'s best example. Summer 1950, Outer Island Conn. Married Sue Weil. Christoher (son) Born July 16, 1951 in NYC. First one man show Betty Parsons's”

Robert Rauschenberg

Source: 1980's, Off the Wall: Robert Rauschenberg and the Art world of Our Time, 1980, pp. 55-56 : Autobiographic notes

Art , Music , Home , Mountain

“I am sick of talking about What and Why I am doing. I have always believed that the WORK is the word. Action is seen less clearly through reason. There are no shortcuts to directness.”

Robert Rauschenberg

around 1965
Quote from Robert Rauschenberg, The early 1950s, Walter Hopps, Houston Fine Art Press, 1991
1960's

“I am always afraid of explaining what I am doing, because my mind works so perversely. If I know why I am doing something it immediately goes to another channel and I try not to do that anymore. So in any interview there is a possibility that I have to leave the interview and change my entire life. I think I'll stop now and let the works answer the questions. To much information is an obstacle to seeing. My works are created to be seen.”

Robert Rauschenberg

1980's, I don't necessarily desire a perfect photography,' 1981

Life , Question , Thinking , Change

“My whole area of art activity has always been addressed to working with other people... You see, I personally like the sensual contact of collaborating. Ideas are not real estate. In collaboration one can accept the fact that someone else can be so sympathetic and in tune with what you’re doing, that through this they move into depths that might not be obvious if that person had been working alone in a studio with the door shut.”

Robert Rauschenberg

Quote from Breaking Bounderies.., Robert S. Mattison, exhibition catalogue Whitney Museum, 1994, p. 3
1990's

People , Art , Idea , Personality

“[I have] various tricks to actually reach that solitary point of creativity. One of them is pretending I have an idea. But that trick doesn't survive very long because I don't really trust ideas – especially good ones... Rather, I put my trust in the materials that confront me, because they put me in touch with the unknown. It is then that I begin to work.... when I don't have the comfort of sureness and certainty. Sometimes Jack Daniels helps too. Another good trick is fatigue. I like to start working when it's almost too late.... when my sense of efficiency is exhausted.”

Robert Rauschenberg

Quote from 'Robert Rauschenberg: An Audience of One', John Gruen, Art News, 29, February 1977, p. 48
1970's

Idea , Sense , Help

“I like the aliveness of it [theater] – that awful feeling of being on the spot. I must assume the responsibility for that moment, for those actions that happen at that particular time. I don't find theater that different from painting, and it's not that I think of painting as theater or vice versa. I tend to think of working as a kind of involvement with materials, as well as rather focused interest which changes.”

Robert Rauschenberg

1960's, I never thought of it as much of an ability,' (1968)

Feeling , Thinking , Change , Time

“The photo can insist on reviewing moments that were unseen, or not know they were seen but passed in viewing. John Cage said (I don't know if they were his own remarks or Zen) his goal was not to get somewhere; he just wanted to enjoy the trip. That's the quality I want in all of my work, that a specific goal or accomplishment would be allied to the fact. I noticed a long time age, when I went to a strange country, that I had the best time and the greatest experiences when I thought I was lost, because when you are lost you look so much harder.”

Robert Rauschenberg

1980's, I don't necessarily desire a perfect photography,' 1981

Age , Photo , Time , Country

“I have another feeling that in working with a canvas, and with something you picked up off the street and you work on it for three or four days or maybe a couple of weeks and then, all of a sudden, it is in another situation. Much later, you go to see somebody in California, and there it is. You know that you know everything about that painting, so much more than anybody else in that room. You know where you ran out of nails... At the time I did that early piece, I didn't know it was the lower right-hand corner that had the new element – that that part would grow and that other parts would relate more to the past.”

Robert Rauschenberg

1960's, I never thought of it as much of an ability,' (1968)

Feeling , Time , Past , Parting

“There was something about the self-confession and self-confusion of Abstract expressionism – as though the man and the work were the same – that personally always put me off because at that time my focus was in the opposite direction.”

Robert Rauschenberg

Source: 21st Century, Robert Rauschenberg, Works, Writings and Interviews, 2006, p. 37

Time , Personality

“[I] could not design forms and colors that would achieve some preconceived result... I wasn't going to hire them. I was more interested in working WITH them than in their working for me.”

Robert Rauschenberg

Quote from Rauschenberg, Andrew Forge, H.N. Abrams, New York n.d., p. 12
1980's

Color

“He [ Jasper Johns ] and I were each other's first serious critics. Actually he was the first painter I ever shared ideas with, or had discussions with about painting. No, not the first. Cy Twombly was the first. But Cy and I were not critical. I did my work and he did his. Cy's direction was always so personal that you could only discuss it after the fact. But Jasper and I literally traded ideas. He would say, 'I've got a terrific idea for you' and then I'd have to find one for him.”

Robert Rauschenberg

remark on his cooperative relation with Jasper Johns, to his biographer Calvin Tomkins
As quoted in Lives of the great twentieth century artists, Edward Lucie-Smith, London 1986, p. 31
1980's

Idea , Painting , Personality

“Every minute everything is different everywhere. It is all flowing... The duty or beauty of a painting is that there is no reason to do it nor any reason not to. It can be done as a direct act or contact with the moment and that is the moment you are awake and moving. It all passes and is never true literally as the present again leaving more work to be done.”

Robert Rauschenberg

Quote of Rauschenberg (1961), as cited in Introduction, Roberta Bernstein, from catalog 'The White and Black Paintings'
from a recording of a symposium in 1961, Larry Gagosian Gallery, New York, 1986
1960's

Beauty , Painting

“[we gave] permission to do what we wanted... It would be hard to imagine my work at that time [c. 1956 – 1960] without his [ Jasper John's] encouragement.”

Robert Rauschenberg

Source: 21st Century, Robert Rauschenberg, Works, Writings and Interviews, 2006, p. 71

Imagination , Time

“Work is my joy... Work is my therapy, I don't know anybody who loves work as much as I do.”

Robert Rauschenberg

265
1990's, Rauschenberg, Art and Live, 1990

Love , Joy

“The character of the artist has to be responsive and lucky. Personally I have never been interested in a defensible reason post card for working achievement functionally is a delusion. To do a needed work short changes art. It seems to me that a great part Indian moccasins of urgency in working lies in the fact that one acts freely friends and associates may become more closely allied with you real soon.”

Robert Rauschenberg

Quote from 'Note on Painting', Robert Rauschenberg, in Pop Art Redefined, October/November 1963, J. Rusell and Suzi Gablik, Praeger Publishers, New York, 1969
1960's

Art , Change , Parting , Personality

“I was bombarded with TV sets and magazines, by the excess of the world. I thought an honest work should incorporate all of these elements, which were and are a reality [referring to the use of photo-silkscreens, made from published photographs of persons, events, disasters, Rauschenberg started to use in his art, after 1961]”

Robert Rauschenberg

Source: 1990's, Rauschenberg, Art and Live, 1990, p. 99

World , Art , Photo , Reality