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Sara Sinclair - Robert Rauschenberg: An Oral History

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Sara Sinclair Robert Rauschenberg: An Oral History
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Robert Rauschenberg (19252008) was a breaker of boundaries and a consummate collaborator. He used silk-screen prints to reflect on American promise and failure, melded sculpture and painting in works called combines, and collaborated with engineers and scientists to challenge our thinking about art. Through collaborations with John Cage, Merce Cunningham, and others, Rauschenberg bridged the music, dance, and visual-art worlds, inventing a new art for the last half of the twentieth century.
Robert Rauschenberg is a work of collaborative oral biography that tells the story of one of the twentieth centurys great artists through a series of interviews with key figures in his lifefamily, friends, former lovers, professional associates, studio assistants, and collaborators. The oral historian Sara Sinclair artfully puts the narrators reminiscences in conversation, with a focus on the relationship between Rauschenbergs intense social life and his art. The book opens with a prologue by Rauschenbergs sister and then shifts to New York Citys 1950s and 60s art scene, populated by the luminaries of abstract expressionism. It follows Rauschenbergs eventual move to Floridas Captiva Island and his trips across the globe, illuminating his inner life and its effect on his and others art.
The narrators share their views on Rauschenbergs work, explore the curatorial thinking behind exhibitions of his art, and reflect on the impact of the influx of money into the contemporary art market. Included are artists famous in their own right, such as Laurie Anderson and Brice Marden, as well as art-world insiders and lesser-known figures who were part of Rauschenbergs inner circle. Beyond considering Rauschenberg as an artist, this book reveals him as a man embedded in a series of art worlds over the course of a long and rich life, demonstrating the complex interaction of business and personal, public and private in the creation of great art.

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Table of Contents
Robert Rauschenberg The Columbia Oral History Series The Columbia Oral - photo 1
Robert Rauschenberg
The Columbia Oral History Series
The Columbia Oral History Series
Edited by
Mary Marshall Clark
Amy Starecheski
Kimberly Springer
Peter Bearman
Robert Rauschenberg
An Oral History
Edited by
Sara Sinclair with Mary Marshall Clark and Peter Bearman
Columbia University Press
New York
Picture 2
Columbia University Press
Publishers Since 1893
New York Chichester, West Sussex
cup.columbia.edu
Copyright 2019 Columbia University Press
All rights reserved
E-ISBN 978-0-231-19276-7
Library of Congress Cataloging-in-Publication Data
Names: Sinclair, Sara, editor. | Clark, Mary Marshall, editor. | Bearman, Peter S., 1956 editor.
Title: Robert Rauschenberg : an oral history / edited by Sara Sinclair with Mary Marshall Clark and Peter Bearman.
Other titles: Robert Rauschenberg (Columbia University)
Description: New York : Columbia University Press, 2019. | Includes bibliographical references and index.
Identifiers: LCCN 2018060641 (print) | LCCN 2019000796 (e-book) | ISBN 9780231549950 | ISBN 9780231192767 (cloth : alk. paper)
Subjects: LCSH: Rauschenberg, Robert, 19252008. | ArtistsUnited StatesBiography.
Classification: LCC N6537.R27 (e-book) | LCC N6537.R27 R64 2019 (print) | DDC 709.2 [B] dc23
LC record available at https://lccn.loc.gov/2018060641
A Columbia University Press E-book.
CUP would be pleased to hear about your reading experience with this e-book at .
Unless otherwise noted, all artworks copyright
Robert Rauschenberg Foundation
Cover design: Julia Kushnirsky
Cover image: Robert Rauschenberg Foundation/Licensed by VAGA, New York
Book design: Lisa Hamm
I refuse to be in this world by myself.
ROBERT RAUSCHENBERG, 1997
Robert Rauschenberg A Retrospective New York Guggenheim Museum Publications - photo 3
Robert Rauschenberg: A Retrospective (New York: Guggenheim Museum Publications, 1997), 227.
Contents
A PAINTER , sculptor, photographer, printmaker, sometime performance choreographer, and maker of hybrid forms thereof, Robert Rauschenberg is widely considered to be one of the most influential American artists of the twentieth century. In June 2013, the Columbia Center for Oral History Research was awarded a grant from the Robert Rauschenberg Foundation to conduct a project on the life and influence of the artist, and we realized that creative challenges lay before us. The first set of challenges were methodological; we learned a great deal about how to link our practices in the oral history world with similarly rigorous practices in the art world, resulting in creative exchanges and new standards.
METHODOLOGICAL CHALLENGES
During the projects pilot phase, the Rauschenberg and Columbia teams came to understand a difference in their respective fields. Oral historians and art historians think about subjectivity in different ways. In oral history, we are aware that we are studying memory itself, and we allow for its rearrangements, which reveal different meanings. Art historians understandably place great value on exact record keeping, preserving each image and its source with care to allow direct access to others. This difference led to the creation of a new step in processing the transcript. The normal work flow at the Columbia Center for Oral History Research is as follows: conduct an interview, have it transcribed, audit-edit the transcript (making sure the transcript is an accurate record of the audio file), and return it to the narrator for his or her edits. On the Rauschenberg project, we added a new stepfact-checking the transcripts. In addition to confirming proper names, we checked for accuracy and full expression of titles of Rauschenbergs work, including the date of all creative works, and checked for accuracy of descriptions of pieces, exhibitions, and locations when a narrator mentioned Rauschenberg was present. The foundation staff provided further research into Rauschenbergs artistic processes as well as details pertaining to all other artists work.
Fourteen video sessions were conducted for the project, including a number of what we called technical oral histories, a hybrid interview form that was conducted with Rauschenbergs former studio assistants and fabricators. These interviews were captured on film and were shot in the presence of artworks to best facilitate in-depth discussions about the materials and methods used in their creation. These interviews were held at the Rauschenberg warehouse in Westchester, New York, which houses the foundations art collection and some archival material. Each narrator identified the series to which he would like to speak, Rauschenberg Foundation collections manager Gina Guy found the best examples of that series still in the collection, and Rauschenbergs then senior registrar, Thomas Buehler, installed them in the warehouse space so that narrators could literally speak to, and about, the work. Columbia interviewers collaborated with conservator Christine Frohnert to collect the story and the process behind each work of art displayed.
Overall, the interviewing team completed ninety-eight oral history sessions with fifty-nine narrators, totaling 179 recorded hours. These reminiscences are archived at the Columbia University Center for Oral History Archives at the Rare Book & Manuscript Library in Butler Library and at the Rauschenberg Foundation.
A very dynamic challenge in the Robert Rauschenberg project was that we needed to depend on those who were close to the artisthis friends and family, curators, critics, and othersto paint a picture of his world after his death. Due to the careful work of the Rauschenberg Foundation, who connected us to his network, and of the extraordinary work of the interviewers who stimulated narrators to reconstruct memories of Rauschenbergs world, the art world, and their own memories, the project came to life. This says something very positive about the tangible legacy Robert Rauschenberg left and the creative ability of oral history to resurrect the past for the sake of transmitting memory.
Our objective was to establish an oral biography of the artist by recording firsthand accounts of his life, work, and legacy as told by his family, friends, former lovers, professional associates, studio assistants, and collaborators. We also strove to capture the spirit of the larger art world that Rauschenberg inhabited throughout his life. Drawing from a consideration of Rauschenbergs life and work situated within the larger scope of art and social history, we identified four periods of inquiry: the 1950s and 1960s, the 1970s, the 1980s, and the 1990s until Rauschenbergs death in 2008. We attempted to capture three vital strands in each period: Rauschenbergs life and legacy as told through the interviews we conducted; the contributions of the individuals we interviewed to the art world of their times; and how, through innovation and experimentation, Rauschenberg and his collaborators influenced each other to create something new.
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