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I have another feeling that in working with a canvas, and with something you picked up off the street and you work on it for three or four days or ma… - Robert Rauschenberg
" "I have another feeling that in working with a canvas, and with something you picked up off the street and you work on it for three or four days or maybe a couple of weeks and then, all of a sudden, it is in another situation. Much later, you go to see somebody in California, and there it is. You know that you know everything about that painting, so much more than anybody else in that room. You know where you ran out of nails.. .At the time I did that early piece, I didn't know it was the lower right-hand corner that had the new element – that that part would grow and that other parts would relate more to the past.
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About Robert Rauschenberg
Milton Ernest "Robert" Rauschenberg (January 22, 1925 – May 12, 2008) was an American artist who came to prominence in the 1950's. His work is regarded as a transition from Abstract Expressionism to the media-saturated surfaces of Pop art, together with the art of Jasper Johns; both lived and worked for years in the same studio in New York and discussed their art frequently; they were deeply influenced by the ideas of John Cage and involved with choreograph Merce Cunningham.
Also Known As
Pen Names:
Rauschenbe
Alternative Names:
Milton Ernest Rauschenberg
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Robert Milton Ernest Rauschenberg
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Bob Rauschenberg
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Matson Jones
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Additional quotes by Robert Rauschenberg
One gets as much information as a witness of activity from a fleeting glance [in the photo], like a quick look, sometimes in motion, as one does staring at the subject. Because even if you remain stationary your mind wanders, and it's that kind of activity that I would like to get into the photograph – a confirmation of the fact that everything is moving.
I think the ideas [as starting point for his paintings] are based upon very obvious physical facts – notions that are also simple-minded, such as, in the 'White Paintings', wanting to know if that was a thing to do or not, or in 'Factum', wondering about what the role of accident is. Those aren't really very involved ideas.
[I have] various tricks to actually reach that solitary point of creativity. One of them is pretending I have an idea. But that trick doesn't survive very long because I don't really trust ideas – especially good ones.. .Rather, I put my trust in the materials that confront me, because they put me in touch with the unknown. It is then that I begin to work.. ..when I don't have the comfort of sureness and certainty. Sometimes Jack Daniels helps too. Another good trick is fatigue. I like to start working when it's almost too late.. ..when my sense of efficiency is exhausted.
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