![]() This effort was intended not only to address our instinctive curiosity about what Rauschenberg erased but also to enable us to better understand what he grappled with, literally and figuratively, when he decided to erase the work of an artist he admittedly idolized. In 2010 SFMOMA used a range of digital capture and processing technologies to enhance the remaining traces of the original de Kooning drawing. Without the inscription, we would have no idea what is in the frame the piece would be indecipherable. The simple, gilded frame and understated inscription are integral parts of the finished artwork, offering the sole indication of the psychologically loaded act central to its creation. ![]() 1930) devised a scheme for labeling, matting, and framing the work, with Johns inscribing the following words below the now-obliterated de Kooning drawing: After Rauschenberg completed the laborious erasure, he and fellow artist Jasper Johns (b. He approached Willem de Kooning (1904–1997), an artist for whom he had tremendous respect, and asked him for a drawing to erase. 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. With Erased de Kooning Drawing (1953), Rauschenberg set out to discover whether an artwork could be produced entirely through erasure-an act focused on the removal of marks rather than their accumulation. ![]() ![]() 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. From 1951 to 1953, Robert Rauschenberg made a number of artworks that explore the limits and very definition of art. ![]()
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