Robert Rauschenberg 1925 - 2008

Provenance

The Estate of Ileana Sonnabend, acquired directly from the artist
Nina Castelli Sundell

Private Collection

Exhibitions

Paris, Galerie Ileana Sonnabend,Rauschenberg, 25 Dessins-Frottages, 3 October - 1 November 1968
Kunsthalle Tubingen,Robert Rauschenberg: Drawings, 5 May- 24 June 1979, illus b/w, p134, touring to;

Hanover, Kunstmuseum Hannover mit Sammlung Sprengel, 19 August- 23 September 1979

Berlin, Staatliche Kunsthalle,Rauschenberg: Werke 1950–1980, 23 March - 4 May 1980, touring to;

Düsseldorf, Kunsthalle Düsseldorf, 7 June-13 July 1980

Humlebaek, Louisiana Museum of Modern Art, 20 September- 25 November 1980

Frankfurt, Städel, 4 December 1980– 18 January, 1981

Munich, Städtische Galerie im Lenbachhaus, 4 February- 5 April 1981

London, Tate Gallery, (asRobert Rauschenberg), 29 April- 14 June 14 1981

New Jersey, Princeton University, The Art Museum,Selections from the Ileana and Michael Sonnabend Collection: Works from the 1950s and 1960s, 3 February- 9 June 1985, p112, illus colour, p84, touring to;

Austin, University of Texas, Archer M. Huntington Art Gallery, 8 September - 27 October 1985

Minneapolis, Walker Art Center, 23 November 1985 - 9 March 1986
New York, East Hampton, Guild Hall Museum,A View from the Sixties: Selections from the Leo Castelli Collection and the Michael and Ileana Sonnabend Collection, 11 August- 22 September 1991
New York, Craig F. Starr Associates,To Ileana, From Bob: Rauschenberg Drawings from the Sonnabend Collection, 10 April - 29 May 2009, illus colour, unpaginated

Literature

Robert R. Mattison,Robert Rauschenberg Breaking Boundaries, Yale University Press, United States, 2003, p156

Description

‘The 1968 Democratic Convention, held on 26th – 29th August, stands as an important event in the nation’s political and cultural history. The violence between police and anti-Vietnam war protesters in the streets and parks of Chicago gave the city a black-eye.’ 1 Ten Chicago galleries responded to these televised events by organising the oneday group exhibition Response to Violence in Our Society. It was held on 2nd November, just before the election, with proceeds going to the American Civil Liberties Union. 2
Political Folly was made for this exhibition and thus recalls Election, 1960 as among Rauschenberg’s most directly political drawings. The largest face is that of Senator Eugene McCarthy, the leading antiwar presidential candidate following the assassination of Senator Robert Kennedy on 5th June. To his left are protesters gathered in a Chicago park, topped by a sign McCarthy/Peace. Further scenes of youthful protesters appear in the middle and at the right edge, where they crowd around the General John Logan Memorial statue in Grant Park. McCarthy’s rival, the victorious Democratic Party nominee
as Vice President Hubert Humphrey, and his wife pictured in profile are included at top right, upside down. Rauschenberg’s preference is clearly conveyed, in both scale and orientation, as well as the location of the signature at the lower left, beneath the protestors.
The words at the bottom are interrelated. The masthead of the New York tabloid Daily News puns on the name of Chicago’s controversial Mayor Richard Daley, who was blamed by many for the excesses of the Chicago police and the words angled nearby, ‘Task Force Reports to Mayor’ suggest inquiries that were held after the riots.

1 ’Brief History of Chicago’s 1968 Democratic Convention, ’CNN: http://www.cnn.com/ALLPOLITICS/1996/
conventions/chicago/facts/chicago68/index.shtml

2 1968: Art and Politics in Chicago, DePaul University Art Museum, Chicago, 2008, p19