What Sold at Art Basel in Hong Kong
Executed in 1990, this work is number 1 from an edition of 22, plus 1 artist's proof, published by Saff Tech Arts, Oxford.
Signature: signed, dated 90 and numbered 1/22
Gainesville, Brenau University Galleries, Rauschenberg: Reprise, Darryl Pottorf: A Perspective, Quattro Mani: The Collaborative Work of Robert Rauschenberg and Darryl Pottorf, 2003, pp. 19 & 32, illustrated in color (another example exhibited)
London, Bernard Jacobson Gallery; New York, Jacobson Howard Gallery; Philadelphia, Locks Gallery; Vienna, Galerie Ulysses, Robert Rauschenberg: ROCI USA (Wax Fireworks) and other selected works, October 2004 - June 2005 (another example exhibited)
New York, Jacobson Howard Gallery, Last Turn - Your Turn: Robert Rauschenberg and the Environmental Crisis, March - April 2008 (another example exhibited)
Tampa, University of South Florida, Contemporary Art Museum, Rauschenberg: US, June - August 2008 (another example exhibited)
Royal Botanic Garden Edinburgh, Rauschenberg - Botanical Vaudeville, July - October 2011, pp. 22-24 & 72, illustrated in color (another example exhibited)
Philadelphia, Locks Gallery, Robert Rauschenberg, February - March 2014 (another example exhibited)
Easton, Academy Art Museum, Robert Rauschenberg: ROCI Works from the National Gallery of Art, December 2015 - March 2016 (another example exhibited)
Rockland, Farnsworth Art Museum, Pushing Boundaries: Dine, Graves, Lichtenstein, Rauschenberg and Rosenquist - Collaborations with Donald Saff, June 2016 - January 2017 (another example exhibited)
National Museum in WrocŁaw, Summer Rental. The Erich Marx Collection in WrocŁaw, August 2016 - January 2017 (another example exhibited)
National Gallery of Art, ROCI Rauschenberg Overseas Culture Interchange, Washington, D.C., 1991, pp. 21 & 199, illustrated in color
Donald J. Saff, Ed., Contemporary Masters Prints From The Lilja Collection, London 1995, pp. 271, 274 & 399, illustrated in color
Marilyn Satin Kushner, Ed., Donald Saff: Art in Collaboration, New York 2010, fig. 82, pp. 92 & 196, illustrated in color
Le Marie Trainer Gallery, Washington, D.C.
Christie's, New York, 19 November 1997, Lot 289
Acquired from the above by the present owner
Robert Rauschenberg’s enthusiasm for popular culture and, with his contemporary Jasper Johns, his rejection of the angst and seriousness of the Abstract Expressionists led him to search for a new way of painting. A prolific innovator of techniques and mediums, he used unconventional art materials ranging from dirt and house paint to umbrellas and car tires. In the early 1950s, Rauschenberg was already gaining a reputation as the art world’s enfant terrible with works such as Erased de Kooning Drawing (1953), for which he requested a drawing (as well as permission) from Willem de Kooning, and proceeded to rub away the image until only ghostly marks remained on the paper. By 1954, Rauschenberg completed his first three-dimensional collage paintings—he called them Combines—in which he incorporated discarded materials and mundane objects to explore the intersection of art and life. “I think a picture is more like the real world when it’s made out of the real world,” he said. In 1964 he became the first American to win the International Grand Prize in Painting at the Venice Biennale. The 1/4 Mile or Two Furlong Piece (1981–98), a cumulative artwork, embodies his spirit of eclecticism, comprising a retrospective overview of his many discrete periods, including painting, fabric collage, sculptural components made from cardboard and scrap metal, as well as a variety of image transfer and printing methods.
American, 1925-2008, Port Arthur, Texas, based in New York and Captiva Island, Florida
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