“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. By 1952, de Kooning was a leading figure, along with Jackson Pollock, in Abstract Expressionism, one of the first modernist art movements in post-World-War II New York. 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. Mark Stevens and Annalyn Swan, eds., de Kooning: An American Master (New York: Alfred A. Knopf, 2004), 359–60, 455. Peter Hassinger, “Rauschenberg in San Francisco,” California (July 1977): 74. Annick Colonna-Césari, “Rauschenberg, l’explorateur des limites,” L’express, September 10, 1997. From 1951 to 1953, Robert Rauschenberg made a number of artworks that explore the limits and very definition of art. Compre online Erased Erased de Kooning Drawing, de Edwards, Geraint na Amazon. Mark Swed, “Cage by Chance,” New Yorker, October 4, 1993, 212. The American Century: Art and Culture 1900–2000, Part II, 1950–2000, Whitney Museum of American Art, New York, September 26, 1999–February 13, 2000. Maryln Schwartz, “Portrait of an Artist as a Sibling and a Son,” Dallas Morning News, January 25, 1987. Erased de Kooning Drawing is an early work of US artist Robert Rauschenberg: an almost blank piece of paper in a simple gilded frame.The work was created in 1953 by Rauschenberg erasing a drawing he obtained from Dutch artist Willem de Kooning.Rauschenberg asked his friend Jasper Johns to add a written caption to the frame, which reads: "Erased de Kooning Drawing, Robert Rauschenberg, 1953”. In 1953, a twenty-eight-year-old Robert Rauschenberg went to Willem de Kooning, the most renowned Abstract Expressionist artist of his day, and asked him for a drawing. Robert Hughes, “The Most Living Artist,” Time, November 29, 1976, 61. Jean Lipman and Richard Marshall, Art about Art (New York: Whitney Museum of American Art, 1978), 142, 147 (ill.). Roger Copeland and Marshall Cohen, eds., What Is Dance? Accessed June 23, 2013. https://www.spiegel.de/kultur/gesellschaft/zum-tode-robert-rauschenbergs-alles-ist-kunst-kunst-ist-alles-a-553127-druck.html. Traveled to: Kunsthalle Düsseldorf, Düsseldorf, Germany, June 6–July 13, 1980; Louisiana Museum of Modern Art, Humlebæk, Denmark,September 20–November 25, 1980; Städelsches Kunstinstitut, Frankfurt, Germany, December 4, 1980–January 18, 1981; Städtische Galerie im Lenbachhaus, Munich, February 4–April 5, 1981; Tate Gallery, London (as Robert Rauschenberg), April 29–June 14, 1981 (on view through May 19, 1981). Max Kozloff, “The Impact of de Kooning,” Arts Yearbook 7 (1964): 77, 79–80, 83. Only a portion of SFMOMA's collection is currently online, and the information presented here is subject to revision. Jeffrey Kastner, “Art Attack,” ARTnews 96, no. Sophie Lévy, “Une exposition en blanc,” Transatlantica 1 (2005). Paul Richard, “Silk Sheets and Neon Bicycles; At the National Gallery, the Extravagant ‘Rauschenberg Overseas Culture Interchange,’” Washington Post, May 12, 1991. Cornelia Butler and Alexandra Schwartz, eds., Modern Women: Women Artists at the Museum of Modern Art (New York: Museum of Modern Art, 2010), 66. “Major Show of Rauschenberg’s Art Opens in SF,” Palo Alto Times, June 24, 1977. Bernice Rose, Rauschenberg: Arcadian Retreats (New York: PaceWildenstein, 1997), 10. Accessed June 23, 2013. https://digitalcommons.unl.edu/sheldonpubs/75. 2 (Spring 1977): 1. 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. William Wilson, “‘Rauschenberg Black and White’ at Newport Harbor,” Los Angeles Times (Calendar), December 28, 1969. ———, “White on White,” Critical Inquiry 27, no. 1 (September 1997): 96, 98. Calvin Tomkins, “Profiles: Moving Out,” New Yorker, February 29, 1964, 66, 71. How Robert Rauschenberg erased a Willem de Kooning and created a landmark of postmodernism. Robert M. Adams, “Ssh,” New York Review of Books, September 25, 1969, 30. The sight of this approximation of de Kooning’s drawing ultimately does not transform our understanding of Rauschenberg’s finished artwork. Mark A. Cheetham, Abstract Art Against Autonomy: Infection, Resistance, and Cure since the ’60s (Cambridge: Cambridge University Press, 2006), 52, 53 (ill.), 80. “Drawing Affords a Certain Freedom,” Minneapolis Tribune, March 7, 1965. Ursula Giessler, “Oder man nehme ein Bett,” Saarbrucker Zeitung, December 17, 1980. Doug MacCash, “Razor-Sharp Rauschenberg—The Muhammad Ali of the Art World Pulls No Punches in a News Conference in Lafayette, Where an Exhibit of the Anti-establishment Icon’s Work Is on View,” Times-Picayune (New Orleans, LA), June 18, 2005. Courtesy of … Rauschenberg first tried erasing his own drawings but ultimately decided that in order for the experiment to succeed he had to begin with an artwork that was undeniably significant in its own right. Daniel A. Siedell, “The Visual Culture of Robert Rauschenberg,” Sheldon Museum of Art Catalogues and Publications, 1999. Traveled to: The Menil Collection, Houston, September 27, 1991–January 5, 1992; Museum of Contemporary Art, Chicago, February 8–April 19, 1992; San Francisco Museum of Modern Art, May 14–August 16, 1992 (on view until around June 5, 1992). 2 (March–April 1977): 79. Accessed June 23, 2013. https://transatlantica.revues.org/313. 4 (April 1986): 141. ラウシェンバーグ [Rauschenberg], Gendai bijutsu 14 (Tokyo: Kodansha, 1993), n.p. No idea what is Dance Robert Hughes, “ Aesthetic of Indifference, ARTnews..., Limpid, Angelic, ” San Francisco, 1950–1965, Dallas Museum of Arts. 2008 ): 47, no 2 ( May 1961 ):,! America 80, no “ Rauschenberg ’ s clear that this unassuming object is much in demand s Cheerful,... Please contact US at collections @ sfmoma.org to verify Collection holdings and artwork information, Why is that important,! Modernity, trans for Sculpture, New York: Distributed Art Publishers 2011! 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