Robert Rauschenberg quotes - page 2

Robert Rauschenberg was an American painter and graphic artist, renowned for his innovative work in the transition from Abstract Expressionism to Pop Art. His groundbreaking "Combines" merged painting and sculpture with found objects, challenging conventional artistic boundaries. He influenced generations of artists with his experimental approach and creative vision. Here are 79 of his quotes:

I don't crop. Photography is like diamond cutting. If you miss you miss. There is no difference with painting. If you don't cut you have to accept the whole image. You wait until life is in the frame, then you have the permission to click. I like the adventure of waiting until the whole frame is full.

Robert Rauschenberg

1948 Black Mountain College N. C. Disciplined by Albers. Learned photography. Worked hard but poorly for Albers. Made contact with music and modern dance. Felt too isolated, Sue [Weil, they married soon, then] and I moved to NYC. Went to Art Students League. Vytlacil & Kantor. Best work made at home. Wht. Painting with no.'s best example. Summer 1950, Outer Island Conn. Married Sue Weil. Christoher (son) Born July 16, 1951 in NYC. First one man show Betty Parsons's.

Robert Rauschenberg

I didn't even know that there was art until I left Texas when I was eighteen. The only painting I knew (and I didn't know it was a 'painting' until much later) was 'Hope' [of George Frederic Watts, 1886] the woman sitting on the globe with... that green [of the painting 'Hope'] you only get in reproductions]! I think that negates the idea of a painter's relation to official – old master art. It was neutral ground – that one picture – I responded to visual things...'Hope' was just sort of visual thing there, not art.

Robert Rauschenberg

It was my sensual excessiveness that jarred him [ Jasper Johns. ] He was always an intellectual. He read a lot, he wrote poetry – he would read Hart Crane's poems to me, which I loved but didn't have the patience to read myself – and he was often critical of things like my grammar. But you don't let a thing like that bother you if you have only two or three real friends.

Robert Rauschenberg

Albers [on Black Mountain College ] was a beautiful teacher and an impossible person. He wasn't easy to talk to, and I found his criticism so excruciating and so devastating that I never asked for it. Years later, though, I'm still learning what he taught me, because what he taught me had to do with the entire visual world. He didn't teach you how to 'do art'. The focus was always on your personal sense of looking... I consider Albers the most important teacher I've ever had, and I'm sure that he considers me one of his poorest students.

Robert Rauschenberg

I am always afraid of explaining what I am doing, because my mind works so perversely. If I know why I am doing something it immediately goes to another channel and I try not to do that anymore. So in any interview there is a possibility that I have to leave the interview and change my entire life. I think I'll stop now and let the works answer the questions. To much information is an obstacle to seeing. My works are created to be seen.

Robert Rauschenberg

It is completely irrelevant that I am making them. 'Today' is their creator.

Robert Rauschenberg

One gets as much information as a witness of activity from a fleeting glance [in the photo], like a quick look, sometimes in motion, as one does staring at the subject. Because even if you remain stationary your mind wanders, and it's that kind of activity that I would like to get into the photograph – a confirmation of the fact that everything is moving.

Robert Rauschenberg

Josef Albers's [a former art teacher of Rauschenberg, on Black Mountain College ] rule is to make order. As for me, I consider myself successful when I do something that resembles the lack of order I sense. (around 1949 during Black Mountain College, fh).

Robert Rauschenberg

I already see things backwards! You see, in printmaking everything comes out backwards so printing is an absolute natural for me. It is difficult for a lot of artists to do prints because they draw one way and can't imagine it the other way. I always had trouble reading as a child. Every few minutes my mind would shift and I would pick out all the o's, than all the letter a's on a page.

Robert Rauschenberg

With the black ones [his 'Black Paintings'] I was interested in getting complexity without their revealing much – in the fact that there was much to see but not much showing. I wanted to show a painting that could have the dignity of not calling attention to itself. In both the blacks and the whites [paintings] there was none of the familiar aggressiveness of art that says, 'Well, here it is, whether you like it or not.

Robert Rauschenberg

The character of the artist has to be responsive and lucky. Personally I have never been interested in a defensible reason post card for working achievement functionally is a delusion. To do a needed work short changes art. It seems to me that a great part Indian moccasins of urgency in working lies in the fact that one acts freely friends and associates may become more closely allied with you real soon.

Robert Rauschenberg

I got so depressed that I went to an astrologer.... everybody I knew was breaking up. Everything was falling apart. There was such an abundance of bad news [on his retreat to Captiva where he started his studio and a print studio].

Robert Rauschenberg

I was bombarded with TV sets and magazines, by the excess of the world. I thought an honest work should incorporate all of these elements, which were and are a reality [referring to the use of photo-silkscreens, made from published photographs of persons, events, disasters, Rauschenberg started to use in his art, after 1961].

Robert Rauschenberg

I find it nearly impossible free ice to write about jeep axle my work. The concept I plantatarium struggle to deal with ketchup is opposed to the logical continuity lift tab inherent in language horses and communication. My fascination with images open 24 Hrs. is based on the complex interlocking of disparate visual facts heated pool that have no respect for grammar. The form then Denver 39 is second hand to nothing. The work then has a chance to electric service become its own cliche. Luggage. This is the inevitable fate fair ground of any inanimate object Freight-ways by this, I mean anything that does not have inconsistency as a possibility built-in..

Robert Rauschenberg

You could waste years arguing. All I had to do was make one [image] and ask: 'Do I like that?' 'Is there anything to say there?' 'Does that thing have any presence' 'Does it really matter that it looks bluer now, because it is late afternoon? Earlier this morning it looked quite white.' 'Is that an interesting experience to have?' To me, the answer was yes.

Robert Rauschenberg

I don't mess around with my subconscious.

Robert Rauschenberg

I'm not so facile that I can accomplish or find out what I want to know or explore enough of the possibilities and a way of making a painting, say, in just one painting or two paintings.

Robert Rauschenberg

So that ideas of sort of relaxed symmetry have been something for years that I have been concerned with because I think that symmetry is a neutral shape as opposed to a form of design.

Robert Rauschenberg

Well, I like way downtown near the Battery. I lived down there at this time and for, I guess, the following well, this is where I moved to uptown and I've been here for four years and this is 1965.

Robert Rauschenberg

But I was in awe of the painters; I mean I was new in New York, and I thought the painting that was going on here was just unbelievable.

Robert Rauschenberg

I got so I was really just sick of sculpture.

Robert Rauschenberg