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Robert Rauschenberg cytaty
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Robert Rauschenberg – amerykański artysta, który wywarł bardzo duży wpływ na sztukę amerykańską po II wojnie światowej. Zajmował się malarstwem, rzeźbą, instalacją, scenografią, teatrem i happeningiem. Odznaczony Narodowym Medalem Sztuki. Wikipedia  

✵ 22. Październik 1925 – 12. Maj 2008
Robert Rauschenberg Fotografia
Robert Rauschenberg: 47   Cytatów 0   Polubień

Robert Rauschenberg: Cytaty po angielsku

“I feel a conscious attempt to be more and more related to society. That's what's important to me as a person. I'm not going to let other people make all the changes; and if you do that, you can't curt yourself of... I'm only against the most obvious things, like wars and stuff like that. I don't have any particular concept about an utopian way things should be. I have a prejudice or a bias, it is that there shouldn't be any particular way. Being a complex human organ, we are capable of a variety; we can do so much. The big fear is that we don't do enough with our senses, with our activities, with our areas of consideration; and these have got to get bigger year after year.”

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Robert Rauschenberg

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

“This was my first encounter with art as art [when he saw 'Pinky' ['Sarah Barrett Moulton: Pinkie'], 1794 painted by Sir Thomas Lawrence and 'The Blue Boy' painted by Thomas Gainsborough.... somebody actually MADE those paintings....(it) was the first time I realized you could be an artist.”

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Robert Rauschenberg

Źródło: 1990's, Rauschenberg, Art and Live, 1990, p. 60

“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.”

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Robert Rauschenberg

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

“I already see things backwards! You see, in printmaking everything comes out backwards so printing is an absolute natural for me. It is difficult for a lot of artists to do prints because they draw one way and can’t imagine it the other way. I always had trouble reading as a child. Every few minutes my mind would shift and I would pick out all the o's, than all the letter a's on a page.”

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Robert Rauschenberg

Źródło: 21st Century, Robert Rauschenberg, Works, Writings and Interviews, 2006, p. 28

“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.”

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Robert Rauschenberg

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

“For the first time, I wasn't embarrassed by the look of beauty, of elegance, because when you see someone who has only one rag as their property, but it happens to be beautiful and pink and silk, beauty doesn't have to be separated... I have always said that you shouldn't have biases, you shouldn't have prejudices. But before that [before his trip to India, c. 1975] I'd never been able to use purple, because it was too beautiful.”

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Robert Rauschenberg

Źródło: 1990's, Rauschenberg, Art and Live, 1990, p. 206

“[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.”

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Robert Rauschenberg

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

“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.”

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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

“[Art is] a means to function thoroughly and passionately in a world that has a lot more to it than paint.”

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Robert Rauschenberg

Źródło: 1960's, The Bride and the Bachelors, (1962), p. 3

“With the black ones [his 'Black Paintings'] I was interested in getting complexity without their revealing much – in the fact that there was much to see but not much showing. I wanted to show a painting that could have the dignity of not calling attention to itself. In both the blacks and the whites [paintings] there was none of the familiar aggressiveness of art that says, 'Well, here it is, whether you like it or not.”

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Robert Rauschenberg

Źródło: 1960's, The Bride and the Bachelors, (1962), pp. 203-204

“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.”

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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

“[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.”

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Robert Rauschenberg

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

“It's because I wait, I wait until it's there again. Whatever is there [in the eye of the camera] is a truth, but a truth you have to believe in. What you see in front of you is a fact. You click when you believe it's the truth. The information is waiting to become in essence a concentration, concentrated so clearly that it can be projected back into real life, into your recognition. It could be any size.”

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Robert Rauschenberg

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

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

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Robert Rauschenberg

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

“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.”

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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

“I got so depressed that I went to an astrologer…. everybody I knew was breaking up. Everything was falling apart. There was such an abundance of bad news [on his retreat to Captiva where he started his studio and a print studio]”

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Robert Rauschenberg

from Rauschenberg, Barbara Rose, Vintage Books, New York, 1987, p. 86
1980's

“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]”

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Robert Rauschenberg

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