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Robert Rauschenberg idézet

Robert Rauschenberg, született Milton Ernst Rauschenberg amerikai festő, a pop art művészet kezdeményezője és jeles képviselője. Wikipedia  

✵ 22. október 1925 – 12. május 2008
Robert Rauschenberg fénykép
Robert Rauschenberg: 47   idézetek 0   Kedvelés

Robert Rauschenberg: Idézetek angolul

“I used to think of that line in Allen Ginsberg's 'Howl', about the 'sad cup of coffee'... I have had cold coffee and hot coffee and lousy coffee, But I've never had a sad cup of coffee.”

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Robert Rauschenberg

Forrás: 1980's, Off the Wall: Robert Rauschenberg and the Art world of Our Time, 1980, p. 89

“I don't crop. Photography is like diamond cutting. If you miss you miss. There is no difference with painting. If you don't cut you have to accept the whole image. You wait until life is in the frame, then you have the permission to click. I like the adventure of waiting until the whole frame is full.”

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Robert Rauschenberg

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

“I still have a struggle reading [dyslexia] and so I don't read much... Probably the only reason I'm painter is because I couldn't read yet I love to write, but when I write I know what I'm writing, but when I'm reading I can’t see it, because it goes from all sides of the page at once. But that's very good for printmaking.”

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Robert Rauschenberg

Quote from interview: 'Robert Rauschenberg talks...', Maxime de la Falaise McKendry, 6 May 1976, p. 34
1970's

“There was a whole language that I could never make function for myself; it revolved around words like 'tortured', 'struggle'. 'pain'… I could never see these qualities in paint – I could see them in life and art that illustrates life. But I could not see such conflicts in the materials and I knew that it had to be in the attitude of the painter.”

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Robert Rauschenberg

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

“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..”

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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

“You could waste years arguing. All I had to do was make one [image] and ask: 'Do I like that?' 'Is there anything to say there?' 'Does that thing have any presence' 'Does it really matter that it looks bluer now, because it is late afternoon? Earlier this morning it looked quite white.' 'Is that an interesting experience to have?' To me, the answer was yes.”

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Robert Rauschenberg

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

“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.”

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Robert Rauschenberg

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

“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”

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Robert Rauschenberg

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

“I didn't even know that there was art until I left Texas when I was eighteen. The only painting I knew (and I didn't know it was a 'painting' until much later) was 'Hope' [of George Frederic Watts, 1886] the woman sitting on the globe with... that green [of the painting 'Hope'] you only get in reproductions]! I think that negates the idea of a painter's relation to official – old master art. It was neutral ground – that one picture – I responded to visual things...'Hope' was just sort of visual thing there, not art.”

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Robert Rauschenberg

1950's, Is today's artist with or against the past, (1958)

“It was my sensual excessiveness that jarred him [ Jasper Johns. ] He was always an intellectual. He read a lot, he wrote poetry – he would read Hart Crane's poems to me, which I loved but didn't have the patience to read myself – and he was often critical of things like my grammar. But you don't let a thing like that bother you if you have only two or three real friends.”

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Robert Rauschenberg

Forrás: 1980's, Off the Wall: Robert Rauschenberg and the Art world of Our Time, 1980, p. 119

“Albers [on Black Mountain College ] was a beautiful teacher and an impossible person. He wasn't easy to talk to, and I found his criticism so excruciating and so devastating that I never asked for it. Years later, though, I'm still learning what he taught me, because what he taught me had to do with the entire visual world. He didn't teach you how to 'do art'. The focus was always on your personal sense of looking… I consider Albers the most important teacher I've ever had, and I'm sure that he considers me one of his poorest students.”

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Robert Rauschenberg

Forrás: 1960's, The Bride and the Bachelors, (1962), p. 198

“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.”

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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.”

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Robert Rauschenberg

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

“It is completely irrelevant that I am making them. 'Today' is their creator.”

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Robert Rauschenberg

Quote, c. 1950; as cited in Abstract Art, Anna Moszynska, Thames and Hudson 1990, p. 199
Rauschenberg's comment on his series 'White Paintings'
1950's

“One gets as much information as a witness of activity from a fleeting glance [in the photo], like a quick look, sometimes in motion, as one does staring at the subject. Because even if you remain stationary your mind wanders, and it's that kind of activity that I would like to get into the photograph – a confirmation of the fact that everything is moving.”

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Robert Rauschenberg

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

“I think the ideas [as starting point for his paintings] are based upon very obvious physical facts – notions that are also simple-minded, such as, in the 'White Paintings', wanting to know if that was a thing to do or not, or in 'Factum', wondering about what the role of accident is. Those aren't really very involved ideas.”

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Robert Rauschenberg

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

“Painting relates to both art and life. Neither can be made. (I try to act in the gap between the two)”

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Robert Rauschenberg

from Selections from the Ileana and Michael Sonnabend Collection, Sam Hunter, exhibition catalogue The Art Museum, Princeton University, 1985 p. 21
1980's

“It is my own personal psychosis that it is only by the background that you can see what is in front of you. Only be accepting all that surrounds you can you be totally self-visualized. And at the same time, your self-visualization is a reflection of your surroundings. Albers was right about that. That's why I like Cezanne so much. Matisse said, you have to read between the lines. When he would stop a line, say, at the ear, and beginning it again at the neck, he was really exercising the viewer's mind to fill in the blanks”

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Robert Rauschenberg

parts
Quote from an interview with Barbara Rose, 1987, in Rauschenberg, Avedon Vintage, Random House, New York 1987, p. 72
1980's

“Outside the big idea that there is art I don't think of other's paintings. But I defend the idea of art and know that it is made up of all these paintings. Classic pictures are objects that may or may not influence what you're doing, just like anything else. Like the radio... But it hasn't anything to do with your own art or the artist's intention.”

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Robert Rauschenberg

1950's, Is today's artist with or against the past, (1958)

“Josef Albers's [a former art teacher of Rauschenberg, on Black Mountain College ] rule is to make order. As for me, I consider myself successful when I do something that resembles the lack of order I sense. (around 1949 during Black Mountain College, fh).”

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Robert Rauschenberg

In Robert Rauschenberg, Works, Writings and Interviews, Sam Hunter; as quoted in Ediciones Poligrafa, Barcelona, Spain, 2006, p. 37
1950's

“I think a picture is more like the real world when it is made out of the real world.”

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Robert Rauschenberg

Quoted in: Kenneth Coutts-Smith (1970) The dream of Icarus, p. 53
1970's

“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.”

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Robert Rauschenberg

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

“[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.”

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Robert Rauschenberg

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

“I don't think he [ Josef Albers ] ever realized that it was his discipline that I came for. Besides, my response to what I learned from him was just the opposite of what he intended... I was very hesitant about arbitrarily designing forms and selecting colors that would achieve some predetermined result, because I didn't have any ideas to support that sort of thing – I didn't want color to serve me, in other words.”

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Robert Rauschenberg

Forrás: 1960's, The Bride and the Bachelors, (1962), pp. 199-200

“I don't feel any direct relationship between what I do and existing art. Though there is unavoidable progression: the things all paintings have in common are paint, and color, and some means of application. With the standard you can make any two pictures appear either alike of different. I don't think whether they're alike or different is really very interesting.”

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Robert Rauschenberg

1950's, Is today's artist with or against the past, (1958)

“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.”

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Robert Rauschenberg

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

“Screwing things up is a virtue. Being correct is never the point. I have an almost fanatically correct assistant, and by the time she re-spells my words and corrects my punctuation, I can't read what I wrote. Being right can stop all the momentum of a very interesting idea.”

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Robert Rauschenberg

Quoted in: N.M. Kelby (2009) The Constant Art of Being a Writer, p. 102
21st Century

“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.”

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Robert Rauschenberg

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

“It's almost as if art, in painting and music and stuff, is the leftover of some activity. The activity is the thing that I'm most interested in. Nearly everything that I've done was to see what would happen if I did this instead of that.”

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Robert Rauschenberg

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

“It was because of the general inclination, until very recently, to believe that art exists in art. At every opportunity, I've tried to correct that idea, suggesting that art is only a part – one of the elements that we live with... Being a painter, I probably take a painting more seriously than someone who drives a truck or something. Being a painter, I probably also take his truck more seriously. In the sense of looking at it and listening to it and comparing it to other trucks and having a sense of its relationship to the road and the sidewalk and the things around it and the driver himself. Observation and measure are my business.”

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Robert Rauschenberg

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