Robert Rauschenberg
cardboards and related pieces
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Contributions
- Bois, Yve Alain. - Contributor
Publication
2007 - Yale University Press, New Haven, Conn, Connecticut
Language
English
Word Count
38,000 words, Guess
Page Count
152 pages
Identifiers
- Open LibraryOL20403651M
- ISBN-139780300123784
- ISBN-100300123787
- OCLC Control Number81452931
- OCLC Control Numberrobertrauschenbe0000raus_j5b4
and 3 more
- Library of Congress Control Number2006934697
- LibraryThing2922319
- Goodreads549667
Classifications
- DDC709.2
- LCCN6537.R27
Description
In the early 1970s, Rauschenberg moved his permanent studio from New York City to Captiva Island, off the Gulf coast of Florida (Today, this site is in use as the artists' residency program of the Robert Rauschenberg Foundation). This relocation marked a shift from the gritty urban detritus that had been the basis of much of the earlier work to a rhapsodic embrace of color and geometric abstraction in a wholly new vernacular language. The Jammers series (1975-76), its title a direct reference to the Windjammer sailing vessel, is Rauschenberg?s salute to his new island life. In 1975, he also went to India to investigate textiles and papermaking, and the inspiration of this new and exotic context is evident in the use of vivid colors and nuanced textures of cotton, muslin, and silk. For the most part, the Jammers comprise stitched fabrics in pure, solid colors, affixed to rattan poles or hung directly and loosely on the wall; whereas in works such as Sprout (1975) and Caliper (1976), the unadorned poles are the principal formal element, propped against the wall. Departing from Rauschenberg's densely collaged imagery or muscular, layered materials, the Jammers are simple and light, focusing on the transparency and seductiveness of veil-like fabrics, that are lent sculptural structure by the cloth-covered poles or other found objects. In Quarterhorse (1975), segments of blue, green, tan and yellow cloth evoke sandy beaches, palm trees, and bright sunshine. In Index (1976), widths of gleaming azure and white satin drape together, a diptych of clouds and sea. The hot, saturated hues of Pimiento III (1976) and Mirage (1976) attest to more exotic influences; while Coin (1976) incorporates found tin cans, stripped of their labels, gleaming mysteriously inside a gauze bag that sags under their weight.--Gagosian website.
Subjects
Topics
Places
Times
Genres
- Exhibitions.
Series Statement
- Menil Collection
Other Editions
- Robert Rauschenberg: cardboards and related pieces
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