22.10.08 | 19.01.09

Sor Aqua (Venetian) 1973 ½ Gals. / AAPCO (Cardboard) 1971 National Spinning / Red / Spring (Cardboard) 1971 Serita / Blister Pack (cardboard) 1971 Pyramid Series 1974 Sant'Agnese (Venetian) 1973 Untitled (Early Egyptian) 1974 Untitled (Venetian) 1972 Volon (cardboard) 1971 Untitled (Venetian) 1973 Untitled (Venetian) 1973 Untitled (Venetian) 1973 Untitled (Venetian) 1973 Ca’ Pesaro (Venetian) 1973 Untitled (Venetian) 1973 Untitled (Early Egyptian) 1973 Untitled (Made in Israel) 1974 Untitled (Early egyptian) 1973 Untitled (Early Egyptian) 1973 Untitled Sculpture (Early Egyptian) 1974 Untitled (Early Egyptian) 1974 Untitled (Early Egyptian) 1974 Untitled (Early Egyptian) 1974 Untitled (Early Egyptian) 1973 Untitled (Hoarfrost) 1974 Sybil (Hoarfrost) 1974 Vow (Jammer) 1976 Moor (Hoarfrost) 1974 Untitled (Hoarfrost) 1974 Sulphur Bank (Hoarfrost) 1974 Pilot (Jammer) 1976 Untitled (Hoarfrost) 1975 Fresco (Jammer) 1976 Mirage (Jammer) 1975 Untitled (Jammer) 1975 Sprout (Jammer) 1975 Quarterhorse (Jammer) 1975

Robert Rauschenberg

Kouros Again (Hoarfrost)

1975

Courtesy :

Moving away from the rather dull colours characterising the early Hoarfrosts, in 1974-75 Rauschenberg starts to develop images with brighter or stronger colours, partly as a result of his journey to India in May 1975. The surfaces become more complex, alternating fabrics of different quality and texture and introducing alongside images materials and objects – e.g. pieces of cardboard and rope – that clash with the transparency of the fabric and make it somehow similar to a bas-relief. This process is clear in works like Morr (Hoarfrost, Untitled (Hoarfrost), Sulphur Bank (Hoarfrost), all of 1974, as well as in Kouros Again (Hoarfrost) of 1975. This work takes its name from the barely visible representation (top centre) of a kouros, which in Greek statuary of the VII-VI century BC indicates a youth at the height of his physical and spiritual beauty which the golden colour seems to allude to. The fact that the title points to the least identifiable element in the composition, thus urging the viewer to discover it, refers to the Dadaist poetic of the “hidden object”, which the artist develops to the full in this cycle of works playing on concealment and transparency, on the ambiguity and indefiniteness of the image.

 

Moor (Hoarfrost)

1974

Untitled (Hoarfrost)

1974

Sulphur Bank (Hoarfrost)

1974

Port Arthur, Texas 1925 | Captiva 2008
I have deliberately used every opportunity with my work to create a focus on world problems, local atrocities and in some rare instances celebrate men’s ...
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