- 54
Robert Rauschenberg
Description
- Robert Rauschenberg
- Star Grass
- signed, titled and dated 1963 on the reverse
- oil and silkscreen ink on canvas
- 58 1/2 x 40 in. 148.6 x 101.6 cm.
Provenance
Mr. and Mrs. Gilbert Hahn, Washington, D. C. (acquired from the above in May 1964)
Thence by descent to the present owner
Exhibited
Literature
Andrew Forge, Rauschenberg, New York, 1978, p. 81 (text)
Calvin Tomkins, Off the Wall: Robert Rauschenberg and the Art World of Our Time, New York, 1980, p. 305 (text)
Exh. Cat., New York, Whitney Museum of American Art, Robert Rauschenberg: The Silkscreen Paintings, 1962-1964, 1990, cat. no. 52, fig. 70, p. 158, illustrated and p. 147 (text)
Condition
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Catalogue Note
Although Rauschenberg evinced a disregard for traditional illusionism, an inspired deployment of imagery and color in the Silkscreen Paintings allowed him to retain the frisson or spatial tension of recessive images juxtaposed with flatter silhouettes or more graphic photographic sources. In Star Grass, the post-card like image of the New York City skyline animates the center of the painting, vivid against the white background, punctuated only in the lower regions with a small bright red square that almost suggests a trompe l’oeil piece of red tape. The slippage of the skyline depiction blurs the frame and clarity of the purloined image, and threatens to breakdown a photograph into an abstraction, enhancing the sense of disorder amongst order and the handmade within the mechanical in Star Grass.
Above the urban image, with its deep perspective, bright lights, and swooping elevated highway, the upper register bears a patterned image redolent of striped fabrics that Rauschenberg had applied to some of the Combine Paintings, but here re-emphasizes the flat picture plane. Once again, Rauschenberg disrupted his own equilibrium by countering this decorative flatness with an abstract image which bears stylistic resemblance to the open canopy of a parachuting astronaut that appears in many of the Silkscreen Paintings. The title of Star Grass alludes to space, transportation, and travel, one of Rauschenberg’s strongest motifs that threads throughout the series, and in her essay for the catalogue of the Whitney Museum of American Art exhibition celebrating these works, Roni Feinstein made an explicit connection between the striped fabric of the astronaut’s parachute and the umbrella fabrics in the multi-paneled Die Hard, one of the most extensive treatments of the theme of space in the series. Feinstein also referenced the abstract circular form that highlights both Star Grass and Die Hard as “a planetary body or celestial nebula” (Roni Feinstein, “The Silkscreen Paintings” in Exh. Cat., New York, Whitney Museum of American Art, Robert Rauschenberg: The Silkscreen Paintings, 1962-1964, pp. 78-79) The ovoid form can also be considered a ghostly echo of the astronaut’s capsule as it descends to earth, a connection made more persuasive by the multiplicity of photos of Wally Schirra’s Sigma 7 capsule in Die Hard taken from a 1962 article in Life.
The varying oppositions of imagery, spatial depth and allusions redolent in Star Grass make this painting an exemplary addition to the symphonic cacophony of elements that is a hallmark of this important corpus of Rauschenberg’s oeuvre. As Calvin Tomkins observed : “[Rauschenberg] took images out of context and juxtaposed them with other, similarly displaced images in order to generate complex interlockings of meaning and form. The associative dialogue produced by these non-hierarchical clusters evokes a multiplicity of references. Rauschenberg’s work therefore is multi-directional and open-ended, poetic and evocative; meaning is inherent but impossible to pin down.” (Calvin Tomkins, “The Sistine on Broadway,” in Exh. Cat., New York, Whitney Museum of American Art, Robert Rauschenberg: The Silkscreen Paintings, 1962-1964, pp. 28-29) It is in the randomness, multiplicity, and richness of the images and colors deployed throughout these paintings that connects Rauschenberg’s Silkscreen Paintings not only to Duchampian attitudes of the simultaneity of art and life, but to the modernist ideal of direct engagement between instigator and recipient, between Rauschenberg and us.