Pointe Shoe Ballet Acrylic Painting - On Sale

This Pointe Shoe painting is 4" by 5" acrylic on cradled board.This painting is part of a small series of Dance themed artworks. All of my paintings ship safely packaged in custom boxes.

Q: That’s astonishing when you see the result. Any idea how you’re going to top this?. GdT: The thing that makes this movie unique is that, for the first time in 25 years of my career, I have to take a sabbatical. The reason is that I need this movie to land in me. I need to learn from it, I need to live with it. Then I may make television, I may make a gigantic movie, I may make a little movie, I don’t know. I’ll produce, as always, but I may not direct anything until two years from now. But this is the first time ever that I’ve said I need a sabbatical. I’ve poured everything of myself into this film, in more ways than one.

“This is pointe shoe ballet acrylic painting what we live for here at SFMOMA,” director Neal Benezra said with a smile as he introduced a preview of “Robert Rauschenberg: Erasing the Rules,” the new exhibit at the San Francisco Museum of Modern Art, Rauschenberg (1925-2008) was one of the most adventurous, innovative and influential American artists during his long career, and SFMOMA knew it early on, The museum offered the first Rauschenberg career retrospective in 1976, when he was just past 40, Many works in the new exhibition are the museum’s own, collected over decades, including two that are called “cornerstones of 20th century art.”..

“Erasing the Rules” began at the Tate Modern museum in London and ran earlier this year at New York’s Museum of Modern Art, where it focused more on Rauschenberg’s collaborations with other artists, composers and choreographers. San Francisco’s version follows a chronological line through his career — and fills all the galleries for temporary exhibits on the museum’s fourth floor. It’s expansive but well-organized by Gary Garrels and Sarah Roberts, curators of painting and sculpture at SFMOMA.

The show is a knockout, Colors blaze, lights flash, videos show dance productions Rauschenberg designed, A room-size tub of mud bubbles, inspired by a hydrothermal pool at pointe shoe ballet acrylic painting Yellowstone National Park, Rauschenberg called it “Mud Muse.”, “Painting relates to both art and life…, I try to act in that gap between the two,” Rauschenberg famously said in 1959. And what makes art? Anything, he decided, almost before his career began, Born in Port Arthur, Texas (as was Janis Joplin, whom he met in the 1960s in New York), Rauschenberg served in the Navy during World War II, Discharged in 1945, he studied at the Kansas City Art Institute, the Academy Julian in Paris, then — in a major turning point — at Black Mountain College in College in North Carolina..

At Black Mountain, everybody studied everything, and Rauschenberg took classes in voice, dance, textile construction, photography, painting and more. His most influential teacher was artist Josef Albers. “Albers’ rule is to make order,” Rauschenberg later said. “As for me, I consider myself successful only when I do something that resembles the lack of order I sense.”. Yet that there’s a logical order to the “disorder” throughout Rauschenberg’s career is certainly apparent in this exhibit. It begins with “Mother of God” circa 1950, a collage of city maps with a clipping about “an invaluable spiritual road map,” and ends with “Untitled (Runt),” a 2007 assemblage of geometric photographs that was one of his last completed works.

By the mid-1950s Rauschenberg combined painting, sculpture, construction and collage and simply called them “Combines.” His most famous is here: “Monogram” pointe shoe ballet acrylic painting (1955-59), featuring a taxidermist’s stuffed Angora goat, its face painted, a tire circling its middle, on a platform with assorted street detritus and magazine clippings, overpainted, When the larger version of this exhibit opened in New York, one critic said most every step of Rauschenberg’s career seemed predestined, He was just fated at a particular time to make a painting with the track of a car’s tire, or to erase a Willem de Kooning drawing and mount it in a frame, (Both of these “cornerstones of 20th century art” are on display.)..

Rauschenberg’s works have long been staples of art history textbooks and now, of course, they’re online. But nothing can match the in-person impact — the scale, color, texture and construction, both intricate and rough-hewn. Moreover, like encountering Jackson Pollock’s action paintings, there’s a sense that the artist has just finished some of these works. The paint might still be wet. When Benezra walked through the exhibit before the preview, he responded, “I was knocked out by how fresh the art looked.”.

Here is the set piece Rauschenberg designed for Merce Cunningham’s dance company in 1954 — walk-through panels with gauze and mirrors — and a video of that performance, “Minutiae.” Here is “Short Circuit” (1955), a construction like an artist’s cupboard, It’s a sampler of Rauschenberg’s career: It includes one painting by his ex-wife, Susan Weil, and his then-current lover, Jasper Johns, The painting “Pantomime” (1961) includes two large electric fans projecting like sentinels, their cords plugged into the canvas, another plugged into a wall outlet, There’s an amusing, toy-like contraption, pointe shoe ballet acrylic painting “Money Thrower for Tinguely’s Homage to New York” (1960), which was a gunpowder-loaded “mascot” for an outdoor performance..

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