Rune Gade, “Maleriet lever,” Informatíon, October 24, 2014. Craig Dworkin, No Medium (Cambridge, MA: MIT Press, 2013), 20, 41–42, 43, 44–45, 168, 189n8, 190n9. The power of Erased de Kooning Drawing derives from the allure of the unseen and from the enigmatic nature of Rauschenberg’s decision to erase a de Kooning. Sophie Lévy, “Une exposition en blanc,” Transatlantica 1 (2005). It’s hardly shocking that an exhibition called “Sensation” … Barbara Buhler Lynes and Jonathan Weinberg, eds., Shared Intelligence: American Painting and the Photograph (Berkeley: University of California Press, 2011), 172. 3D into 2D (New York: New York Cultural Center, 1973), 4, 31. 3D into 2D: Drawing for Sculpture, New York Cultural Center, New York, January 19–March 11, 1973. Sam Hunter, Selections from the Ileana and Michael Sonnabend Collection: Works from the 1950s and 1960s (Princeton, NJ: Princeton University Art Museum, 1985), 21, 76. Übrigens sterben immer die anderen: Marcel Duchamp und die Avantgarde seit 1950, Museum Ludwig, Cologne, Germany, January 15–March 6, 1988. Accessed June 23, 2013. https://transatlantica.revues.org/313. Thomas Crow, “Social Register,” Artforum 47, no. 10 (November 2010): 128 (ill.), 132. He approached de Kooning, an artist he admired, to ask for a drawing that he could erase to create a new work of art. The inscription, “ERASED DE KOONING DRAWING BY ROBERT RAUSCHENBERG 1953,” is the only toehold offered to those unfamiliar with this enigmatic artwork. Dean Jensen, “Rauschenberg Retrospective Stupendous! Rauschenberg (Madrid: Fundación Juan March, 1985), n.p. Katherine Hardiman, “Monochromes & Mandalas,” in Rauschenberg: Collecting & Connecting, ed. Art Lovers: Stories of Art in the Pinault Collection (Monaco: Grimaldi Forum, 2014), 42, 49 (ill.), 52. Arthur C. Danto, “Robert Rauschenberg,” The Nation, November 17, 1997, 35. Andrew Forge, Rauschenberg (New York: Harry N. Abrams, 1969), 7, 25. Jenna Sauers, “Burning a Birkin Is Not ‘Art,’” Jezebel, May 30, 2012. Roni Feinstein, “Rauschenberg: Solutions for a Small Planet,” Art in America 86, no. De Kooning gave him one of his good pieces covered with all kinds of pigment. Verso (sheet): An untitled drawing by Willem de Kooning, Verso (backing board): Upper right, inscription in black: “53.D1”; center, inscribed in black by the artist’s studio assistant Charles Yoder: “DO NOT REMOVE DRAWING FROM FRAME. Carter Ratcliff, “New York,” Art International 21, no. Selfness and the Emergence of Self States as Illustrated in Conceptual Art,” Journal of Analytical Psychology 54, no. Franz Schulze, “Rauschenberg’s Cheerful Cheek,” Chicago Daily News, December 3–4, 1977. Accessed June 23, 2013. https://galleryoflostart.com/#/0,4/. Leo Steinberg, “Reflections on the State of Criticism,” Artforum 10, no. 1 (January–February 2009), 44. Thomas Crow, “This Is Now: Becoming Robert Rauschenberg,” Artforum 36, no. Kristine Stiles (Durham, NC: Nasher Museum of Art, 2014), online edition. John Russell and Suzi Gablik, Pop Art Redefined (London: Thames and Hudson, 1969), 11 (ill.). 3 (May–June 1977): 60, 61. Somewhat reluctantly, de Kooning agreed. 3 (March 1976): 10. Norman L. Kleeblatt, ed., Action/Abstraction: Pollock, de Kooning, and American Art, 1940–1976 (New York: The Jewish Museum; New Haven, CT: Yale University Press, 2008), 26 (ill.). 6 (June 2012): 65. Maryln Schwartz, “Portrait of an Artist as a Sibling and a Son,” Dallas Morning News, January 25, 1987. The plain gilded frame and inscription by Jasper Johns are important parts of the work: without them, a viewer would struggle to interpret the work. Peter Schjeldahl, “Rauschenberg Just Won’t Be Boxed In,” New York Times, October 31, 1971. 45 (September/October 1979): 42. Antoine Compagnon, The Five Paradoxes of Modernity, trans. Craig Staff, Monochrome (London: I.B. Dave Hickey, “Open Charms,” Artforum 36, no. Jo Ann Lewis, “Rauschenberg, Bright and Early; Accomplished Works of the Young Artist, at the Corcoran,” Washington Post, June 15, 1991. Franklin Philip (New York: Columbia University Press, 1994), 97. Harold Rosenberg, The De-Definition of Art (New York: Collier Books, 1972), 111, 124. Arthur Perry, “Rauschenberg Meets Standard in Exhibition,” Artmagazine (Toronto) 11, no. Through the erasure of De Kooning's drawing, Rauschenberg acknowledged his admiration for his predecessor, but also signaled a movement away from Abstract Expressionism. Rauschenberg then re-titled the work, now preserved in the collection of the San Francisco Museum of Art, “ Erased de Kooning Drawing .” Jonathan D. Katz, “The Outness of Rauschenberg’s Art,” Gay & Lesbian Review 15 (September–October 2008): 10. Görel Cavalli-Björkman, ed., Falskt & Äkta (Stockholm: Författarna, Nationalmuseum och bildrättsinnehavarna, 2004), 208 (ill.). Thierry de Duve, Clement Greenberg between the Lines: Including a Previously Unpublished Debate with Clement Greenberg, trans. Michael Kimmelman, “Before Rauschenberg Was Infamous,” New York Times, October 23, 1992. Wayne Smith, “Collection Rotation: Wayne Smith,” Open Space (SFMOMA blog), February 14, 2011. Tijs Goldschmidt, Kloten van de engel: Beschouwingen over de natuurlijkheid van cultuur (Amsterdam: Athenaeum—Polak & Van Gennep, 2007), 6 (ill.), 8. Tom Folland, “Robert Rauschenberg’s Queer Modernism: The Early Combines and Decoration,” Art Bulletin 92, no. Robert Rauschenberg, San Francisco Museum of Modern Art, May 7–September 7, 1999. Whitney Chadwick and Isabelle de Courtivron, eds., Significant Others: Creativity and Intimate Partnership (New York: Thames and Hudson, 1993), 196. Museum of Modern Art Goes on a Buying Spree,” Los Angeles Times, June 6, 1998. (New York: Harry N. Abrams, 1987), 276. Accessed June 23, 2013. https://www.texasmonthly.com/story/rauschenberg%E2%80%99s-repartee. Paul Schimmel, ed., Robert Rauschenberg: Combines (Los Angeles: Museum of Contemporary Art, 2005), 206, 248 (ill.), 272n39. Judith L. Dunham, “Rauschenberg’s Retrospective—Works Worth the Reading,” Artweek, July 30, 1977, 20. Annick Colonna-Césari, “Rauschenberg, l’explorateur des limites,” L’express, September 10, 1997. “SFMOMA 75th Anniversary: David Ross,” interview conducted by Lisa Rubens, 2007, Regional Oral History Office, The Bancroft Library, University of California, Berkeley, 2009, 28, 102, 104, 108–9, 117. Übrigens sterben immer die anderen: Marcel Duchamp und die Avantgarde seit 1950 (Cologne: Museum Ludwig, 1988), 245, 331. Did not travel to remaining venues. 1 (Autumn 2000): 113–15. Yve-Alain Bois, “Early Lead,” Artforum 36, no. Erased de Kooning is one of the early works of the US artist Robert Rauschenberg. San Francisco. If you are interested in receiving a high resolution image of an artwork for educational, scholarly, or publication purposes, please contact us at copyright@sfmoma.org. Yoshiaki Tono, “From a Gulliver’s Point of View,” Art in America 48, no. “SFMOMA 75th Anniversary: David White,” interview conducted by Richard Cándida Smith, Sarah Roberts, Peter Samis, and Jill Sterrett, 2009, Regional Oral History Office, The Bancroft Library, University of California, Berkeley, 2010, 33, 34, 39–53, 57, 76, 80. Lucy R. Lippard and John Chandler, “The Dematerialization of Art,” Art International, February 20, 1968, 32. Accessed June 23, 2013. https://bancroft.berkeley.edu/ROHO/projects/sfmoma/interviews.html. The artist Robert Rauschenberg thought destroying a work by Willem de Kooning was ‘not a negation, it’s a celebration.’ The art world was divided. Shaila Dewan, “Culture Clash,” Houston Press, February 26, 1998. Jeffrey Strayer, “A Tribute to Pop Art Pioneer Rauschenberg,” Journal Gazette (Fort Wayne, IN), May 22, 2008, (ill.). 1 (March 1966): 63. It is considered a Neo-Dadaist conceptual artwork, with similarities affinities to Added Art, although with material removed from the original work rather than added. 3 (November 1997): 47, 48. Eine kunsthistorische Sicht der Berliner Bilder,” Jahrbuch der Berliner Museen 45 (2003): 240 (ill.). Paul Wood, ed., Varieties of Modernism (New Haven, CT: Yale University Press, 2004), 273, 276, 277 (ill.). David E. W. Fenner, “Why Modifying (Some) Works of Art Is Wrong,” American Philosophical Quarterly 43, no. FRAME IS PART OF DRAWING”, https://sfmoma-media-dev.s3.us-west-1.amazonaws.com/www-media/2020/09/12182455/en_353a_Rauschenberg_ErasedDeKooning.mp3. Art in the Mirror, Museum of Modern Art, New York, November 22, 1966–February 5, 1967. Robert Rauschenberg: Retrospective, directed by Michael Blackwood (New York: Michael Blackwood Productions, 1979), VHS, 45 min. frame with label inscribed using. Brian O’Doherty, “Vanity Fair: The New York Art Scene,” Newsweek, January 4, 1965, 58. Patricia G. Berman and Pari Stave, Munch|Warhol and the Multiple Image (New York: The American-Scandinavian Foundation, 2013), 22 (ill.), 23. In addition to appearing in the special exhibition listed above, Erased de Kooning Drawing was shown in SFMOMA’s galleries in 1999, 2000, 2004, 2005, 2006, 2008, and 2016 as part of a series of rotating presentations of the permanent collection. ’s house, clutching a bottle of Jack Daniel’s in one hand, the 27-year-old artist knocked hesitantly on … Dan Shaw, “Eco-Conscious Meets Guilty Conscience,” New York Times, November 12, 2006. 1 (February 1977): 47. 7 (Summer 2006): 55. An artist, Robert Rauchenburg used an eraser to reduce a drawing to the blank white of an empty page. John Paul Ricco, “Name No One Man,” Parallax 11 (April–June 2005): 95–102. Katrina Fried (New York: Welcome Enterprises, 2012), 135. These works recall and effectively extend the notion of the artist as creator of ideas, a concept first broached by Marcel Duchamp (1887–1968) with his iconic readymades of the early twentieth century. 4 (October 1974), 14. Lucy R. Lippard, Changing: Essays in Art Criticism (New York: E. P. Dutton, 1971), 261. Antoine Compagnon, Les cinq paradoxes de la modernité (Paris: Éditions du Seuil, 1990), 125. Robert Storr, Selections from the Private Collection of Robert Rauschenberg (New York: Gagosian Gallery, 2012), 21, 30, 92 (ill.), 106. Art about Art, Whitney Museum of American Art, New York, July 19–September 24, 1978. Neal Benezra and Olga M. Viso, Regarding Beauty: A View of the Late Twentieth Century (Washington, D.C.: Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, 1999), 28–29, 31 (ill.). Duchamp’s Leg, Walker Art Center, Minneapolis, November 5, 1994–March 26, 1995. Calvin Tomkins, The Bride and the Bachelors: Five Masters of the Avant-Garde (New York: Penguin, 1976): 210–11. Accessed August 5, 2015. https://www.bbc.com/news/entertainment-arts-33533960. Susan Davidson and David White, eds., Rauschenberg (Ferrara, Italy: Ferrara Arte, 2004), 30, 31, 45n15, 66 (ill.), 67–68, 80, 95. Rauschenberg asked his friend Jasper Johns to add a written caption to the frame, which reads: "Erased de Kooning Drawing, Robert Rauschenberg, 1953”. 1 (September 1997): 97. Damage Control: Art and Destruction Since 1950, Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, D.C., October 24, 2013–May 26, 2014. Karen Rosenberg, “Canceled, Erased and Removed,” New York Times, July 25, 2008. Traveled to: Fundación Caja de Pensiones, Madrid (as Arte conceptual, una perspectiva), March 12–April 29, 1990. With Erased de Kooning Drawing (1953), Rauschenberg set out to discover whether an artwork could be produced entirely through erasure—an act focused on the removal of marks rather than their accumulation. paper by Johns. Rauschenberg, Fundación Juan March, Madrid, February 8–March 24, 1985. Robert Rauschenberg, Canyon. Richard Kostelanetz, Master Minds: Portraits of Contemporary American Artists and Intellectuals (New York: Macmillan, 1969), 269. L’art conceptuel, une perspective, Musée d’Art Moderne de la Ville de Paris, November 22, 1989–February 18, 1990. 4 (April 1998): 51. Mark Swed, “Cage by Chance,” New Yorker, October 4, 1993, 212. Only a portion of SFMOMA's collection is currently online, and the information presented here is subject to revision. Carol Vogel, “Inside Art: Left Their Art in San Francisco,” New York Times, June 5, 1998. Roger Bevan, “San Francisco: Salvaging 1950s Rauschenberg,” Art Newspaper 3, no. Chris Vitiello, “Rasuchenberg Recombined: With Bruce Conner and various Nasher holdings,” Indy Week, August 20, 2014. Leo Steinberg, Encounters with Rauschenberg (Houston: Menil Foundation, 2000), vi, 16, 17 (ill.), 18–23, 38, 72n10. Mary Lynn Kotz, Rauschenberg, Art and Life (New York: Harry N. Abrams, 1990), 82, 108, 187, 251, 262. Accessed February 9, 2015. https://shuffle.rauschenbergfoundation.org/exhibitions/nasher/essays/Hardiman_monochromes-and-mandalas/. Lorraine Haacke, “‘Happening’ Underway for Television Age,” Dallas Times Herald, December 19, 1976. No photographs exist of the de Kooning work before its erasure, but digital photographs made by the San Francisco Museum of Modern Art in 2010 enhanced the remaining traces of the underlying drawing, although some may have been erased by de Kooning as part of the initial creation of the work before he gave it to Rauschenberg. Bruno Marchand, ed., Robert Rauschenberg: Crítica e obra de 1949 a 1974 (Porto, Portugal: Fundação de Serralves, 2008), 22 (ill.), 152. Robert M. Adams, The Lost Museum: Glimpses of Vanished Originals (New York: Viking Press, 1980), 11. Accessed June 23, 2013. https://www.spiegel.de/kultur/gesellschaft/zum-tode-robert-rauschenbergs-alles-ist-kunst-kunst-ist-alles-a-553127-druck.html. Helen Molesworth, Darsie Alexander, Chris Gilbert, et al., Work Ethic (Baltimore: Baltimore Museum of Art, 2003), 24 (ill.), 25, 32, 83. Gregory Battcock, Minimal Art: A Critical Anthology (New York: E. P. Dutton, 1968), 298, 299. In 1953, Rauschenberg secured an artwork from the painter Willem de Kooning and then proceeded to erase sections of it, creating a new pattern from the remaining marks. 1 (September 1997): 96, 98. Anaël Lejeune, Olivier Mignon, and Raphaël Pirenne (Brussels: Continental Rift, 2012), 89, 90 (ill.), 91, 92, 123, 125, 189. 5 (May 1976): 36. Roger Copeland, “The Politics of Perception,” New Republic, November 17, 1979, 26. was nervous. Did not travel to Guggenheim Museum SoHo, New York. Irith Hadar, Under Erasure (תחת מחיקה) (Tel Aviv: Tel Aviv Museum of Art, 2014), 12 (ill.), 13–14, 127–28. Jen Scoville, “Rauschenberg’s Repartee: Facetious Facets of the Retrospective in Houston,” Texas Monthly, 1998. Erased de Kooning Drawing by Robert Rauschenberg 1953. He explains what de Kooning thought about this project, and how he contributed to it. Reggie Michael Rodrigue, “The Only Stair that Doesn’t Creak: Silence,” Oxford American, September 4, 2012. It has been held by the San Francisco Museum of Modern Art since 1998, which describes the work as a "drawing [with] traces of drawing media on paper with label and gilded frame". Lisa Phillips, ed., The American Century: Art and Culture 1950–2000 (New York: Whitney Museum of American Art, 1999), 83 (ill.). Dominique Widemann, “Rauschenberg entre hasard et nécessité,” Humanité, September 7, 2002. ———, “Quiet House,” Museum & Arts Washington 6, no. Robert Rauschenberg, video interview by David A. Ross, Walter Hopps, Gary Garrels, and Peter Samis, San Francisco Museum of Modern Art, May 6, 1999. From 1951 to 1953, Robert Rauschenberg made a number of artworks that explore the limits and very definition of art. Kenneth Baker, “A ’50s Look at Robert Rauschenberg,” San Francisco Chronicle, May 15, 1992. 3 (November 1977): 50, 52 (ill.). Donna Tennant, “Houston: Robert Rauschenberg—Contemporary Arts Museum,” ARTnews 85, no. However, drawing on these paintings, or anywhere, would defeat the purpose of this series, and so he came to the conclusion that the … It was bought by the San Francisco Museum of Modern Art in 1998 using a gift from Phyllis Wattis. 6 (June–July 2006): 155. R. C. Baker, “Robert Rauschenberg, 1925–2008: The Optimist Who Used a Bald Eagle to Challenge America’s Idea of Art,” Village Voice, May 20, 2008. Cornelia Butler and Alexandra Schwartz, eds., Modern Women: Women Artists at the Museum of Modern Art (New York: Museum of Modern Art, 2010), 66. Watch on The San Francisco Museum of Modern Art recently posted this 1999 video of the late artist Robert Rauschenberg discussing his notorious 1953 piece “Erased de Kooning”, which resulted from literally erasing an art work by Willem de Kooning. Steven Simmons, “American Collage: Robert Rauschenberg,” San Francisco Sentinel, July 28, 1977, 11. It took a month for Rauchenburg to make “Erased de Kooning Drawing.” You can see it at SFMOMA. Rosalie/Red Cheek/Temporary Letter/Stock (Cardboard), © 2021 San Francisco Museum of Modern Art, remaining traces of the original de Kooning drawing, https://www.texasmonthly.com/story/rauschenberg%E2%80%99s-repartee, https://digitalcommons.unl.edu/sheldonpubs/75, https://www.artnet.com/Magazine/reviews/finch/finch12-8-00.asp#6, https://www.artnet.com/magazineus/features/saltz/saltz1-11-06.asp#, https://www.spiegel.de/kultur/gesellschaft/zum-tode-robert-rauschenbergs-alles-ist-kunst-kunst-ist-alles-a-553127-druck.html, https://bancroft.berkeley.edu/ROHO/projects/sfmoma/interviews.html, https://blog.sfmoma.org/2011/02/collection-rotation26/, https://greg.org/archive/2011/05/30/frame_is_part_of_drawing.html, https://6thfloor.blogs.nytimes.com/2012/02/28/erasing-americans/, https://www.npr.org/blogs/krulwich/2012/03/12/148456099/two-ways-to-think-about-nothing, https://jezebel.com/5914333/burning-a-birkin-is-not-art, https://shuffle.rauschenbergfoundation.org/exhibitions/nasher/essays/Hardiman_monochromes-and-mandalas/, https://shuffle.rauschenbergfoundation.org/exhibitions/nasher/essays/Hart_i-am-if-i-say-so, https://shuffle.rauschenbergfoundation.org/exhibitions/nasher/essays/Stiles_introduction, https://post.at.moma.org/content_items/478-lost-in-translation-twenty-questions-to-bob-rauschenberg, https://interventionsjournal.net/2015/01/23/a-radical-disregard-for-the-preservation-of-art-robert-rauschenbergs-elemental-paintings/, https://www.bbc.com/news/entertainment-arts-33533960. Neil A. Chassman, Robert M. Murdock, Lana Davis, et al., Poets of the Cities: New York and San Francisco 1950–1965 (Dallas: Dallas Museum of Fine Arts, 1974), 32, 35, 41, 76 (ill.), 169. The power of Erased de Kooning Drawing derives from the allure of the unseen and from the enigmatic nature of Rauschenberg’s decision to erase a de Kooning. After Rauschenberg completed the laborious erasure, he and fellow artist Jasper Johns (b. Was it an act of homage, provocation, humor, patricide, destruction, or, as Rauschenberg once suggested, celebration? ———, Robert Rauschenberg: The Early 1950s (Houston: Menil Foundation, 1991), 8, 27, 37. This effort was intended not only to address our instinctive curiosity about what Rauschenberg erased but also to enable us to better understand what he grappled with, literally and figuratively, when he decided to erase the work of an artist he admittedly idolized. Diane Haithman, “S.F. Helen L. Kohen, “Matisse Leads Packed Museum Season,” Miami Herald (Florida), November 8, 1992. Please review our Terms of Use for more information. Marjorie Welish, Signifying Art: Essays on Art after 1960 (Cambridge: Cambridge University Press, 1999), 289n24. John Dilworth, “Resemblance, Restriction, and Content-Bearing Features,” Journal of Aesthetics and Art Criticism 63, no. He framed the erased drawing within a simple, gilded frame, with a mat bearing an inscription typed by Jasper Johns that identified the significance of the seemingly empty paper. Donald J. Saff, “Conservation of Matter: Robert Rauschenberg’s Art of Acceptance,” Aperture, no. Donald Finkel, A Joyful Noise: Poems by Donald Finkel (New York: Atheneum, 1966), 62–69. Multiple figures fill the sheet, oriented in two directions. Enid Tsui, “From Beijing via Hong Kong to London, it’s the year of Robert Rauschenberg,” South China Morning Post, May 15, 2016. 4 (April 1992): 128. 1 (September 1978): 149. Albert William Levi, “The Poverty of the Avant Garde,” Journal of Aesthetic Education 8, no. Emile de Antonio and Mitch Tuchman, Painters Painting (New York: Abbeville Press, 1984), 91–92. Allan Kaprow, “Experimental Art,” ARTnews 65, no. Did not travel to remaining venues. 4 (April 1986): 141. : //greg.org/archive/2012/01/11/ erased_de_kooning_drawing_is_bigger_than_it_used_to_be.html Art—Thoughts on White, ” Alles ist Kunst—Kunst ist Alles, ” California ( 1977. Boston Globe, November 27, 1964 a One-Man Mainstream, ” Libération, September 17–October 27, )! Cullinan, Robert Rauschenberg, mat, label, and how he to..., 1996 ), March 28–May 19, 1977, ed., DADA London... September 25, no January 25, 1977 Sins of Commission?, ” Modern 33..., 1976–January 2, 1977 the Poverty of the Abstract expressionist period Post October. July 30, 1976 ), 276 acquiesced, but even chose a he... Corcoran, ” New York Magazine, November 6, no Francisco, 1950–1965, Dallas of... Cooke, “ New York: Harry N. 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