Rauschenberg, de Kooning, and the Arrogance of Art-Making
I’ve been contemplating a new piece recently. A new way of working, really, something that breaks from what I currently do as a photographer or writer. Big changes are always scary, and this is certainly true for changes to one’s artistic process. The future is an uncharted territory, and it’s always unclear what you will find if you head down a new path. Perhaps it will be a new vista, perhaps ruin.
Speaking of “ruin” in the context of an art project smacks of hyperbole, of course—it may feel like disaster is lurking but, realistically, artistic failure means only the loss of time and, perhaps, money. Still, I can’t help thinking about the ways that the creation of art can affect one’s life, a sort of quantum effect where the observation intrudes upon the observed. And this brings to mind Robert Rauschenberg.
One of Rauschenberg’s most famous and controversial pieces is “Erased de Kooning Drawing.” De Kooning, of course, was one of the most celebrated Abstract Expressionists, and Rauschenberg was a particular fan of his. As the story goes, Rauschenberg was interested in finding ways to make art that didn’t involve traditional mark-making and had hit upon the idea of erasure as a technique. But he was unsatisfied with erasing his own works. In this interview on Artforum, he says:
I was trying to figure out a way to bring drawing into the all-whites. I kept making drawings myself and erasing them, and that just looked like an erased Rauschenberg. It was nothing. So I figured out that it had to begin as art. So I thought “It’s got to be a de Kooning.”
“Erased de Kooning Drawing” has gone on to become a significant work in itself, and people have praised it for how it pushes the boundary of the medium, decried it for removing what would have been an important de Kooning piece from the world. I’ve always seen the art of it as being in the act of its creation, which is to say: the act of destroying the original de Kooning piece. The object that’s left, which hangs today at SFMOMA, is really a pointer to something more like a performance. In erasing de Kooning’s drawing, Rauschenberg was destroying something that he valued in order to make something else.
The thing that marvels me most right now is the same apprehension I’m having with my own work: the unknown future. Some art—and Rauschenberg’s is a prime example—changes the world irrecoverably just in the act of creating it. And though “Erased de Kooning Drawing” ended up being a success, there’s no way that Rauschenberg could have known that before he started. Even leaving aside whatever the financial outcome of the piece may have been, or whether it was eventually accepted into the canon of “great art,” it would have been possible for Rauschenberg to know before he started scraping away at the paper that he would be satisfied with the result when he finished. And if he hadn’t produced something that at least he felt was worthwhile, then the act of destruction would have been meaningless. It would, in fact, have taken something valuable out of the world and given nothing back.
To be able to take that leap, to be assured enough of the validity of your ideas to be able to do something like that: is that confidence? Arrogance? How does a person come by it? Was it something cultivated, something nurtured, or is it something you have to be born with? Is this something I could find for myself? And should I? Am I prepared to deal with the consequences if I should fail?
Of course, I find myself rushing to point out that I have no thoughts to destroy something like a de Kooning—what I stand to lose is merely personal. Though, at that, if the damage would be limited to my own emotional state, this doesn’t make it so terribly less daunting to me.
Too, I know that I have taken risks before. So much of my work is about family, about my relationship to the people in my life, and by taking private moments and making them public, I am inevitably and irrevocably altering the moment itself, our memories of the moment, and my relationship with the people in the images. I have always known this, and yet the necessity of showing my story has trumped my responsibility to the other people who populate that story.
I know I’m being cagey here. I’m not ready to go public with this new idea yet. Maybe something will come of it, or maybe I will decide that it’s not worth the risk. I may even decide against it for other reasons—I never have difficulty coming up with reasons why I shouldn’t do something. Still, I can’t help thinking about Rauschenberg. Is the making of art inherently arrogant and narcissistic? Or is this question merely my own anxiety rearing its head again?
I wish I had some answers for you. I’ll be thinking about it. Good luck, everybody. I hope the coming week is fruitful for you.