Robert RauschenbergAmerican, 1925–2008Stunt Man I
May one see it?
Not receiving at present
Minneapolis Institute of Art
Minneapolis, United States
It belongs to the collection, but is not on display at present.
- Checked
- In this state since
- Source
- The museum
About the work
Robert Rauschenberg produced seven lithographs during his first year at U.L.A.E. Among these editions was a three-print series called Stunt Man (I, II, and III), so named for the artist's attempt to blend unlikely combinations of color, something he considered a "brash stunt." In these early prints, Rauschenberg arranged seemingly unrelated images-typically cut from newspapers and magazines of the day-in a collaged composition on which he painted gestural brushstrokes using lithographic tusche. The resulting lithograph was an amalgam of abstract and representational imagery, which often yielded unforeseen results. Indeed, Rauschenberg often relied on chance and unforeseen connections among images as a crucible for new and multiple meanings.
Minneapolis Institute of Art
Particulars
- Accession number
- P.70.62
In the catalog
Sources
- Minneapolis Institute of Art
- Image: Minneapolis Institute of Art — Robert Rauschenberg, Stunt Man I, 1962 © Robert Rauschenberg Foundation
Meanwhile, in the life of Robert Rauschenberg
The whole life1954–1961
Lives with the artist Jasper Johns
From 1954 to 1961 Rauschenberg lived with his partner, the artist Jasper Johns. They constantly exchanged ideas and took part in each other's work, but never made objects under joint authorship.
1962
Takes up silkscreen after visiting Warhol's studio
By 1962 Rauschenberg's paintings took in not only found objects but found images: after a visit to Andy Warhol's studio he began transferring photographs to canvas by silkscreen, a technique of commercial printing. The silkscreen paintings of 1962–1964 led critics to identify him with Pop art.
1963
First retrospective, at the Jewish Museum
Rauschenberg's first career retrospective was organised by the Jewish Museum in New York.
May 1963
Choreographs his first performance, “Pelican”
In the early 1960s Rauschenberg was involved in the radical dance-theatre experiments at Judson Memorial Church in Greenwich Village, and in May 1963 he choreographed his first performance, “Pelican”, for the Judson Dance Theater. His close friends from Cunningham's circle — Carolyn Brown, Viola Farber and Steve Paxton — danced in his pieces.
1964
Grand Prize at the Venice Biennale
At the 32nd Venice Biennale Rauschenberg won the International Grand Prize in Painting, one of the first Americans to do so (James Whistler and Mark Tobey had won painting prizes in 1895 and 1958). The prize has been called the official recognition of Pop art.
28 June 1964 – 6 October 1964
Exhibition: Documenta III
