Robert Rauschenberg
Robert Rauschenberg
Robert Rauschenbergwas an American painter and graphic artist whose early works anticipated the pop art movement. Rauschenberg is well known for his "Combines" of the 1950s, in which non-traditional materials and objects were employed in innovative combinations. Rauschenberg was both a painter and a sculptor and the Combines are a combination of both, but he also worked with photography, printmaking, papermaking, and performance. He was awarded the National Medal of Arts in 1993. He became the recipient of the Leonardo...
NationalityAmerican
ProfessionPainter
Date of Birth22 October 1925
CityPort Arthur, TX
CountryUnited States of America
And I think that even today, New York still has more of this unexpected quality around every corner than any place else. It's something quite extraordinary
I don't think any one person, whether artist or not, has been given permission by anyone to put the responsibility of the way things are on anyone else
And I think a painting has such a limited life anyway
So that ideas of sort of relaxed symmetry have been something for years that I have been concerned with because I think that symmetry is a neutral shape as opposed to a form of design
Understanding is a form of blindness. Good art, I think, can never be understood.
A newspaper that you're not reading can be used for anything; and the same people didn't think it was immoral to wrap their garbage in newspaper.
I think a painting is more like the real world if it's made out the real world.
I don't think he (Joseph Albers, fh) 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.
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.
I don't think there's anything really wrong with influence because I think that one can use another man's art as material either literally or just implying that they're doing that, without it representing a lack of a point of view.
I think that in the last twenty years or so, there's been a new kind of honesty in painting where painters have been very proud of paint and have let it behave openly.
I really feel sorry for people who think things like soap dishes or mirrors or Coke bottles are ugly, because they're surrounded by things like that all day long, and it must make them miserable.
Even at this late date, I go into my studio, and I think 'Is this going to be it? Is it the end?' You see, nearly everything terrorizes me. When an artist loses that terror, he's through.
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. A lot of people try to think up ideas. I’m not one. I’d rather accept the irresistible possibilities of what I can’t ignore.