• Join over 1.2 million students every month
  • Accelerate your learning by 29%
  • Unlimited access from just £6.99 per month

The Invasion of Photography into Rauschenberg's Art and into the Museum

Extracts from this document...

Introduction

The Invasion of Photography into Rauschenberg's Art and into the Museum By Anita Mistry Museums and Galleries: Framing Art (HT52040A) 2004-2005 My chosen book for this essay is On the Museum's Ruins by Douglas Crimp. What interested me about this book was the ideas of the museum, and what was accepted into it, especially when concerning photography. Another idea that came up when reading the chapter I chose to concentrate on also named, "On the Museum's Ruins", was the idea of Robert Rauschenberg's work as being almost an analogy for the museum, where both are made up of diverse elements. The author of the chapter and of the whole book, Douglas Crimp, displays these notions well, also looking into the work of Leo Steinberg, Michel Foucault, Andre Malraux and Hilton Kramer. Douglas Crimp's criticism displays this idea that photography being accepted as a valid artistic medium took over, or at least disrupted the discourse of modernism in the art world. He uses the example of Robert Rauschenberg who can be described as post-modern. By putting together photomechanical images with, or covered by, brushstrokes of paint, Rauschenberg intensifies awareness of what was constituted as the essence of high art culture-texture of paint deposited by brush strokes, material evidence on the artist's hand/brushstroke. ...read more.

Middle

(I.e. photography makes everything homogeneous, as it gives objects that common factor, by placing them in the same photograph, and in this way we have a larger variety of diverse elements). Though another problem crops up on page 55, when Malraux reminds us, that in reproduction, figures can lose their original significance or function. For example, an altar piece in reproduction, i.e. a photograph of it, it can not be used as an altar piece. Going on from this idea, it seemed to Walter Benjamin who was the first to see that photography would have a profound effect on art, and that art may even disappear because of it, having lost all importance through mechanical reproduction.5 Robert Rauschenberg appears in the text near the beginning in relation to Leo Steinberg's Other Criteria. With Rauschenberg, photography began to act together with painting in its own destruction. Rauschenberg was called a painter throughout the first decade of his career as an artist, although when he took on photography in the early sixties you couldn't really describe his art as painting. He seemed to form a hybrid form of printing. ...read more.

Conclusion

The colours used are black, white and grey and the motifs he included were urban environment, athletes, space exploration and flight, modes of transport and examples from art history. Another example of the heterogeneity in Rauschenberg's work is displayed in Odalisk (1955-1958), which is made up of "oil, watercolour, pencil, crayon, paper, fabric, photographs, printed reproductions, miniature blueprint, metal, newspaper, glass, dried grass and steel wool, with pillow, wood post, electric lights and Plymouth Rock rooster, on wood structure mounted on four casts."9 Displayed here are just a few examples of how art and the museum don't have to be homogenous. In the case of the museum, in some ways what Kramer said was right, in that it is unsuitable to place such glaring opposites together in a museum. Although when you look at photography, and of what kind of things are included ion the frame, anything can go together. This idea also applies to art works themselves. As we have seen with Rauschenberg's art, it is possible to combine different elements, anything from photography to silk screens, from glass, to fabric. In doing this type of combing in his art Rauschenberg managed to breach the discourse of modernism and rebel against the rules and regulations of the then, art world. ...read more.

The above preview is unformatted text

This student written piece of work is one of many that can be found in our AS and A Level Art & Design section.

Found what you're looking for?

  • Start learning 29% faster today
  • 150,000+ documents available
  • Just £6.99 a month

Not the one? Search for your essay title...
  • Join over 1.2 million students every month
  • Accelerate your learning by 29%
  • Unlimited access from just £6.99 per month

See related essaysSee related essays

Related AS and A Level Art & Design essays

  1. Susan Sontag (on photography) has argued that Diane Arbus's photographs suggest "a world in ...

    But does she concentrate on victims or victimise people? "Did Arbus exploit her subjects? Well, clearly we all do to some extent when we photograph other people - we make use of them for our own purposes. What leaps out of much of her work is a feeling of exchange - that she was giving her subjects something through her work.

  2. Show the Links Between Dada/Surrealism and Pop Art.

    Johns focused on 'things which are seen and not looked at.' as he told the curator Walter Hopps in an interview in 1965. These things often came in simple shapes such as circles (targets) and rectangles (flags numbers and letters.)(SEE PICTURE 3), promoting the Surrealists ideas of thought provoking pictures,

  1. The Metropolitan Museum of Art Case Study.

    and also from all over the world. 48% of the current visitors are from NYC, 39.6% of them are from different areas of the United States, and 12.4% of them are international visitors. 51.1% of the total people visited the MET because of special events.

  2. A Commentary on “Standing Female Nude”

    the fact that "Both poor, we make our living how we can." And that even though the narrator does not associate herself with the artist, they are like symbiotic being which cannot live without the other, so are therefore inseparable.

  1. Docuementary photography

    People trusted the mechanics of the camera which left them with questions about the personal integrity of the photographer. This was the beginning of a new awareness of the 'image maker' with personality and creativity over the image. During the 1930's several photographers were hired to by a government agency called the Farm Security Administration.

  2. AS Photography Statement of Intent and brainstorm examples

    to introduce colour to the final images (for example adding colour to one section of a print to add effect) I am going to use still life as the main focus of my project and in my research for it I am going to look at the works of two

  1. Graffiti art is an art form.

    The goal was and is to create burners which are pieces that stand out because of creativity, color, vibrancy, crisp outlines, i.e. no drips, and overall artistic appeal. It is the recognizable artistic talent of the graffiti artist that established his or her reign on the subway line and not

  2. How does colour affect the mood of the art work? Examination of paintings ...

    Figure 2 by Monet have the same shaped haystacks although the season has completely changed to a wintery scene with snowfall and fog in the air. This one has also been painted at the time of sunset, giving the same orange glow in the air; only this one has a deeper and darker orange colour to it.

  • Over 160,000 pieces
    of student written work
  • Annotated by
    experienced teachers
  • Ideas and feedback to
    improve your own work