Combine painting

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Combining paintings is a work of art that combines objects into painted canvas surfaces, creating a hybrid between painting and sculpture. The objects attached to the painting may include photographic images, clothing, newspaper clippings, epemera or a number of three-dimensional objects. This term is very closely related to the work of American artist Robert Rauschenberg (1925-2008) who created the phrase to describe his own creation. Rauschenberg's Combines explores the opaque boundaries between art and the everyday world. In addition, his intermediate creations challenge the doctrine of intermediate specifics mentioned by modern art critic Clement Greenberg. Frank Stella created many paintings that remind us of the combination of Robert Rauschenberg's paintings by juxtaposing various surfaces and materials in each work that ultimately leads to the statue and architecture of Stella in the 21st century.

Video Combine painting

Rauschenberg

Rauschenberg and his artist friend/flat couple Jasper Johns used to design a window view together for upscale retailers like Tiffany and Bonwit Teller in Manhattan before they became more established as artists. They share ideas about art as well as career strategies. Paul Schimmel of the Los Angeles Museum of Contemporary Art describes Rauschenberg's paintings of Combine Painting as "some of the most influential, poetic and revolutionary works in the history of American art." But they are also called "ramshackle hybrids between paintings and sculptures, prop stage and three-dimensional memo-book assemblage" according to Guardian critic Adrian Searle. Searle believes that "the different elements of the Combined have been described as having no more relationship than the different stories competing for attention on the pages of newspapers." Jasper Johns, too, uses a similar technique; at least in one painting, Johns put a brush in his painting.

Examples of Rauschenberg's include Bed (1955), Canyon (1959), and the free standing Monogram ( 1955-1959). Rauschenberg's works mostly include two-dimensional material that is incorporated with "splashes and drips" with occasional 3-D objects. Critic John Perreault wrote "The Combines are both painting and sculpting-or, some puritans will say, too." Perreault likes them because they are memorable, photogenic, and can "stick in the mind" as well as "startling and surprising." Rauschenberg added a bird puppet in 1955 to his Satellite , which featured game birds that "patrolled on the top edge". In another work, he added a ladder. Combine the Broadcast , featuring three radios at once, is "melange paint, grilles, newspaper clips, and pieces of cloth." According to one source, its broadcast has three radios played simultaneously, producing an irritating static, so one of the job owners, at one point, replaces "noise" with the actual program recording. when guests visit. Rauschenberg's Bed has a pillow attached to a patchwork quilt with paint splashing on it. The idea is to promote immediacy.

The prevailing theme of Rauschenberg's "composite" is "meaningless, absurd, or antiart." In this case the combined paintings relate to Pop art and their previous predecessors, Dada.

Maps Combine painting

Increase in exponential value

In the early 1960s, Rauschenberg's Combines sold from $ 400 to $ 7,500. But its value shot up. In 1999, the Museum of Modern Art, which had refused to buy Rauschenberg's works decades earlier, spent $ 12 million to buy Factum II made by artists in 1957. Rauschenberg's Boil > rewarded in 1991 for $ 7.3 million. A three-panel work created in 1955 that takes its name from Latin for "puzzle images and words", it "builds a narrative of seemingly unreasonable sequences of found images and abstract elements," according to > The New York Times . MOMA bought Boiled in 2005. Rauschenberg reportedly said that the images at Boiled jostle one another "like pedestrians on the street." Rauschenberg Photos , a combined painting from 1959, was worth $ 10.7 million by Sotheby's in 2008. His Bantam work sold for $ 2.6 million in 2009. In the year 2008, New York Times art critic Roberta Smith, who described Combine as "multimedia hybrid", writes MOMA is "Rauschenberg Central" because it has more than 300 of his works. Whitney has 60 Rauschenbergs. In 2012, Canyon was donated to MoMA by Ileana Sonnabend children as part of an IRS solution that valued the work of $ 65 million.

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Canyon (1959)

Canyon, one of the most recognizable Rauschenberg Combinations, has been the subject of an art history debate that revolves around the validity of Rauschenberg's iconographic reading. The historian Kenneth Bendiner famously proposed Canyon as a pleasant recreation of the 1635 Rembrandt painting depicting Ganymede's abduction, interpreting the frozen pillow as Ganymede's ass and the bald eagle filled as a form assumed by the Greek god Zeus. Other historians and critics, such as Joseph Branden, argue that searching for iconography in Rauschenberg's Combines is useless because it can be made anywhere. The interpretation of Bendiner is discredited because it fails to account for the composition movement and ignores some elements in the work, such as the blue and red text in the middle, to form an interpretation for it.

The interpretation of Rauschenberg's Combines varies from: a very personal and subjective (often homoerotic) expression of expression, to the surface of an unreadable material, or cipher-able, challenging the idea of ​​painting, sculpture, acceptance, and opportunity, to multivalent. an iconographic landscape that seems to be resisting a fixed decoding that supports a more open game of meaning. Rauschenberg himself stated, "I do not want a painting to be just an expression of my personality, I feel the painting should be much better than that... I always feel as if whatever I use and whatever I have" is done , the method is always closer to collaboration with the material than to the conscious manipulation and control. "

Moira Roth associates the indifferent attitude of the Combined with Duchamp in art, arguing that the perceived content density, and the integration of mass media elements are facades that are born out of the alienation and indifference experienced by artists during the McCarthy Period. Jonathan Katz argues that behind his impersonal and unresponsive appearance of his work is a secret homosexual code that can unlock some important meanings of Rauschenberg's work, but Ed Kr? Ma points out the weakness of directing the analysis of predicted conclusions, especially since Rauschenberg's work is described as an infinite possibility poem.

The recent interpretation of the Canyon, reconsidered the work in postmodern terms, claiming that Combine works more like the human mind than the human eye; Fragmented fragmented images, news clippings, found objects and paints interact in esoteric ways and are more like brain processes than 'traditional' images. Yve-Alain Bois called the search for the meaning of iconography in Rauschenberg's misguided work as too restrictive. The "central deficiency" of his work is the statement itself, and the infinite permutation of meaning that can produce the highlight of the artistic acceptance of subjectivity that postmodernism explores.

Additional notes

Under U.S. legislation, Canyon can not be sold because it contains a dubbed bald eagle, violates the Law of Coal Protection and the 1940 Eagle and the Migratory Bird Treaty Act of 1918.

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See also

• Paul Kelpe

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References

Source of the article : Wikipedia