In the mid-1950s, declaring “there is no reason not to consider the world as a gigantic painting,” Robert Rauschenberg began a series of radical experiments with what he called “Combines,” a term he coined to describe works that fused cast-off items like quilts or rubber tires with traditional supports. “Canyon” (1959), one of the artist’s best-known Combines, is a large canvas affixed with paper, fabric, metal, personal photographs, wood, mirrors and one very striking object: a large stuffed bald eagle, wings outstretched, carrying a drooping pillow, and balanced upon a wooden plank jutting out from the canvas. “Canyon” is one of six Combines in MoMA’s collection, and a landmark work that helped to revolutionize art in the postwar period. An essay by curator Leah Dickerman explores the legacy of this extraordinary piece, and places it within a key period in Rauschenberg’s career.
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Leah Dickerman has been Curator in the Department of Painting and Sculpture at The Museum of Modern Art since 2008. Her scholarship on the historical avant-garde appears in a broad range of publications. She earned her doctorate in art history from Columbia University, and has held faculty teaching positions at Stanford University and the University of Delaware.
In the mid-1950s, declaring "there is no reason not to consider the world as a gigantic painting," Robert Rauschenberg began a series of radical experiments with what he called "Combines," a term he coined to describe works that fused cast-off items like quilts or rubber tires with traditional supports. "Canyon" (1959), one of the artist's best-known Combines, is a large canvas affixed with paper, fabric, metal, personal photographs, wood, mirrors and one very striking object: a large stuffed bald eagle, wings outstretched, carrying a drooping pillow, and balanced upon a wooden plank jutting out from the canvas. "Canyon" is one of six Combines in MoMA's collection, and a landmark work that helped to revolutionize art in the postwar period. An essay by curator Leah Dickerman explores the legacy of this extraordinary piece, and places it within a key period in Rauschenberg's career.
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Zustand: New. Series: MOMA One on One Series. Num Pages: 48 pages, 35 colour illustrations. BIC Classification: ACXD; AGB. Category: (G) General (US: Trade). Dimension: 230 x 184 x 6. Weight in Grams: 202. . 2014. Paperback. . . . . Books ship from the US and Ireland. Artikel-Nr. V9780870708947
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Erste Auflage. 23 x 19 cm. 47 S. OKarton mit illustriertem OKlappenumschlag. Winziges Eselsohr letzte Seite oben, sonst sehr gutes Exemplar. 1 on one. Durchgehend mit meist farbigen Abbildungen versehen. Illustrierte Bildanalyse der Arbeit "Canyon" (1959) von Rauschenberg aus der Sammlung des MoMA in New York. Artikel-Nr. 70442AB
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Taschenbuch. Zustand: Neu. Neuware - 'In the mid-1950s Robert Rauschenberg began making what he called 'Combines'--Radically experimental works that mix paint and other art materials with things found in daily life. These hybrid creations offered a dramatic counterpoint to the gestural abstraction that prevailed in contemporary American painting. Canyon (1959), one of the artist's best-known Combines, is a large canvas bearing paint, a postcard, a man's shirt, photographs, newspaper clippings, wood, a flattened metal can and paint tube, a piece of glass, and, thrusting out from its surface, a stuffed bald eagle. Leah Dickerman's essay examines the genesis of this startling and enigmatic work and positions it within a key period in Rauschenberg's groundbreaking career.'--Publisher's description. Artikel-Nr. 9780870708947
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