Tuesday, June 27, 2017

New York: MoMa – Robert Rauschenberg: Among Friends

Robert Rauschenberg: Among Friends

My whole area of art has always been addressed to working with other people. Ideas are not real estate.”
Robert Rauschenberg

Robert Rauschenberg: Among Friends, exhibition at MoMa, until September 17, is the first 21st-century retrospective of the artist, and presents over 250 works across mediums from his six-decade career. Collaboration was always critical to Rauschenberg, and his inclusiveness did not stop at the point of making; it often involved the viewer. To highlight the importance of exchange for Rauschenberg, this exhibition is structured as an “open monograph”—as other artists came into Rauschenberg’s creative life, their work comes into these galleries, mapping the play of ideas.
Robert Rauschenberg – Grand Black Tie Sperm Glut – 1987

Robert Rauschenberg: Among Friends
Jasper Johns – Flag - 1954-55

Robert Rauschenberg – Short Circuit – 1955
Created for the Stable Gallery’s Annual Group Show, Rauschenberg invited four artist to participate, though as his friends were not accepted, he invited each one to provide a work to be incorporated in Short Circuit, only Susan Weil and Jasper Johns submitted works, which he placed within shallow cabinets with the word “open” written on the door, prompts discovery of what is inside.

  Robert Rauschenberg – White Painting – 1951
repainted, likely by Brice Marden – 1968
7 panels
Rauschenberg used a roller to apply house paint, producing a surface without brushstrokes; Cy Twombly worked on them as well, and he said that they were to be repainted if they became marred.  Later on Rauschenberg had the White Paintings were remade by others; this one was remade by artist Brice Marden, who worked as his assistant in the 1960s.

Robert Rauschenberg – Rebus – 1955
drawing by Cy Twombly
Rauschenberg gathered many of the materials featured in rebus from and near his studio on Fulton Street, Lower Manhattan, later describing the work as
“A concentration of that particular week in that particular neighborhood.”
The painting includes drawings by his friend Cy Twombly, who often worked in his studio. Believing that titles “should function as another element in the work,” Rauschenberg named Rebus after a game in which words and pictures can be used interchangeably.

Robert Rauschenberg: Among Friends
Andy Warhol – Campbell’s Soup Cans – 1962
32 canvases

Robert Rauschenberg – Mud Muse – 1968-71
with engineers 
Carl Adams – George Carr – Lewis Ellmore - Frank LaHaye 
Jim Wilkinson
The basin of Mud Muse is filled with 8,000 pounds of mud made of bentonite, used while drilling oil or natural gas wells.  Sound-activated pneumatic tubes installed in its base pump air through the mud in response to a tape recording of the sounds of the burbling clay itself.  The resulting work seems simultaneously primordial – evoking ancient tar pits – and futuristic.


 “Painting relates to both art and life. Neither can be made. (I try to act in that gap between the two.)”
Robert Rauschenberg - 1959
When Rauschenberg launched his career in the early 1950s, the heroic gestural painting of Abstract Expressionism was in its heyday. He challenged this tradition with an egalitarian approach to materials, bringing the stuff of the everyday world into his art. Often working in collaboration with artists, dancers, musicians, and writers, he invented new interdisciplinary modes of artistic practice that helped set the course for art of the present day. The ethos that permeates Rauschenberg’s work—openness to the world, commitment to dialogue and collaboration, and global curiosity—also makes him a touchstone for our time.
Robert Rauschenberg – Monogram – 1955-59


Robert Rauschenberg – ACE – 1962
five panels
Playing with the conventions of painting, Rauschenberg signed this work in two parts and on opposite ends, with a printed R on the bottom. Far left and the rest of his name “auschenberg” stenciled in pencil on the far right.  Ace” was Rauschenberg’s nickname for the dancer and choreographer Steve Paxton.

Robert Rauschenberg – Black Market – 1961
At the Art in Motion exhibition in Amsterdam, Rauschenberg placed a suitcase attached to the painting on the floor below it with an assortment of objects inside.  Viewers were invited to take an item and replace it with one of their own, and to make a drawing of their contribution on one of the clipboards attached to the canvas.  When he found out that visitors were simply stealing the objects, he withdrew the invitation.

Robert Rauschenberg: Among Friends
Roy Lichtenstein – Drowning Girl - 1963

Robert Rauschenberg: Among Friends
Marcel Duchamp - Bottle Rack - 1960
(third version, after lost 1914 original)
Rauschenberg purchased this work for three dollars after he saw it in an exhibition called Art and the Found Object, in which his own work was displayed. He asked Duchamp to sign it with the inscription that reads Impossible de me rappeler la phase originale / M.D. Marcel Duchamp /1960. Proudly displaying Bottle Rack in his studio among treasured works by other artists, he latter recalled, “It became one of the most important works in my collection.”

  Robert Rauschenberg – Urban Katydid (Glut) – 1968


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Tuesday, June 20, 2017

Venice – Ca’ Rezzonico: Venice International Foundation Gala Dinner

Copyright Archivio fotografico Venice Foundation – courtesy Venice International Foundation

Ca’ Rezzonico Museo del Settecento Veneziano
Venice International Foundation Gala Dinner
Celebrating 20 Years of Activity

"It is at Ca' Rezzonico that it all started and it is at Ca' Rezzonico that we celebrate. But above all, it is from Ca' Rezzonico that we will continue to look ahead, in time and space, with new forces and new plans in the name of Art."
Franca Coin

To celebrate 20 years of activity, the Venice International Foundation, once again returned to Ca’ Rezzonico Museo del Settecento Veneziano on the Canal Grande for its annual fundraising gala dinner. Many projects funded by the members were remembered; projects primarily for the restoration of works of art but also, and certainly not least, for cultural, musical and educational activities that in the last two decades have helped to promote museums as places of life. It is of no coincidence that "restoring is important, making it alive is indispensable" this was one of the earliest motions of Franca Coin, founder and indefatigable president of the Venice International Foundation.

Franca Coin
Ca' Rezzonico Museo del Settecento Veneziano
Progetto Tiepolo
Giandomenico Tiepolo - L’Altalena dei Pulcinella

Members and friends of Venice International Foundation

Clelia Piperno, Renato Pellicioli, Graziano Visentin, Franca Coin, Cesare Rimini, Guido Venturini, Luca Bombassei, Paolo De Benedictis, Giada Piliego, Caterina Tognon and Paola Mazzocato Tomat.
The resources of the Venice International Foundation, were originally funded with the mission of supporting mainly the Musei Civici di Venezia, and mostly destined for Ca’ Rezzonico, where the extraordinary works of Giandomenico Tiepolo and his father Giambattista, Antonio Guardi and Gaspare Diziani found their “partners” in the Venice International Foundation. Over the years, the foundation’s area of intervention has expanded to other Civic Museums: Palazzo Ducale, Ca’ Pesaro, Palazzo Mocenigo, Palazzo Fortuny, Museo Correr and then to the city of Venice with works for the Basilica di San Marco and the Gallerie dell’Accademia.

Massimo Scolari

Marino Folin and Barbara Foscari

Paolo De Benedictis, Giada Piliego and Giulio Manieri Elia

Giusi Conti and Don Roberto Donadoni

Liliana and Cesare Rimini

Andrea Tomat, Franca Coin, Paola Tomat and Piergiorgio Coin

Alessandra Moretti and Fabio Moretti

  Copyright Archivio fotografico Venice Foundation – courtesy Venice International Foundation

Museo Correr
Progetto Canova
Antonio Canova - Paride - Mobile Canova

Graziano Visentin and Mario Guderzo, director of the Gypsotheca e Museo Antonio Canova in Possagno

Francesco and Crista Casarin

Barbara and Tonci Foscari

Francesco Lemetre, Nicola Vitale and Giacomo Cavallucci

Luca Bombassei and Caterina Tognon

Maura Costa, Don Roberto Donadoni, Paolo Costa and Alessandra Moretti


Barbara Foscari, Maria Cagnoli, Giulia Venturini and Annabella Bassani


Gabriella Berardi and Paola Forni

Francesca Di Bon Pellicciolli

Copyright Archivio fotografico Venice Foundation – courtesy Venice International Foundation

Palazzo Ducale

Progetto Gleam Team
La Sala del Maggior Consiglio di Palazzo Ducale a Venezia

Clotilde Pasini and Chiara Macconi


The Liceo Montale
Grazia Dalla Mutta, Francesco Ardit, Franca Coin, Michele Borin, Beatrice Marin and Roberta Privato

Teresa and Renato Pellicioli


Valeria Molaioli, Carla d’Amico and Edoardo Benedetti Panici

Giordana Naccari and Hugues Le Gallais

Marilisa Allegrini

Fabio Moretti, Guido and Giulia Venturini, Marilisa Allegrini

Emilia Veronese, Francesco Sernaglia, Cristina Bordin and Marco Bottari

  Copyright Archivio fotografico Procuratoria di San Marco, Venezia
courtesy Venice International Foundation

Basilica di San Marco
Progetto Sulle Ali degli Angeli
Cupola della Creazione
Il 5° giorno della creazione - la creazione degli uccelli e dei pesci

  Cesare Rimini, Franca Coin and Giancarla Berti

Giancarla and Luciano Berti

 Manuela Pivato and Andrea Giacobino

Ca’ Rezzonico Museo del Settecento Veneziano

The Garden


Teresa Pellicioli and Graziano Visentin

Adriano and Laura Teso, Giovanni and Beryl Cavallini

Giusi Conti, Don Roberto Donadoni, Felice Casson, Anita Basso, Milva Andriolli and Vittorina Caceffo

Ca’ Rezzonico Museo del Settecento Veneziano

The Garden


The Premio Cotisso

Against a projection of Giambattista Tiepolo’s La Nobilta' e la Virtu' abbattono l’Ignoranza, a painting on one of the ceiling of Ca’ Rezzonico, Mariacristina Gribaudi, president of the Fondazione Musei Civici di Venezia and Franca Coin, president of the Venice International Foundation gave the 2017 coveted Premio Cotisso to architect Massimo Scolari. The trophy, a hunky pure block of glass is designed and donated by L’Angolo del Passato’s Giordana Naccari and is the emblem of the Venice International Foundation now in its tenth edition.

Scuola di Ballo Doo-Wop Boogiedancers

Andrea Cabiola and Viviana Fiorentino who together with Gabriele Bergamo and Nadia Rigo animated the dancing by Boogie Wogging to the music of DJ Laio.
Projection - Antonio Canova 
The Canova project has further extended its scope of action to Possagno and Asolo and will expand beyond the Atlantic next year with the exhibition Canova’s George Washington at the Frick Collection in New York and then in the fall 2018 at the Gypsotheca e Museo Antonio Canova in Possagno. The adjective International, which has always been part of the name of the Venice  Foundation, now has a more concrete sense thanks to their American partners "Friends of Venice Italy" founded in New York five years ago.

DJ Laio

  Photo Claudio Franzini - Fondazione Musei Civici di Venezia  
courtesy Venice International Foundation

Palazzo Fortuny
Progetto Missione Fortuny
Mariano Fortuny - Teatro delle Feste
- La Cavea

Alessandra Lepri and Angelo Oliverio

Mariacristina Gribaudi

Laura and Adriano Teso


 Clelia Piperno

Boogie Woogie

  Teresa Pellicioli, Franca Coin, Andrea and Paola Tomat


Marco Moretti, Caterina Tosello, Lorenzo Zambon and Maria Giulia Vitullo

Silvia Borini

Good Night






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