Erased de Kooning Drawing, A Potential Piece of Yellowism, and Rindy Sam’s alteration of Twombly’s Phædrus all address issues of ownership in conjunction with destruction. After all, not many would react to or care about these incidents if they were purely private acts. In utilizing pieces of art in the public sphere, which people feel invested in and take ownership of, they illicit a different response than they would otherwise. By doing so, the artists challenge the nature of ownership.
Continue reading Destruction & Ownership: Destruction as Transference of Ownership
Robert Rauschenberg’s Erased de Kooning Drawing (1953) was probably the first time this discussion was seriously held in the fine arts world. Appropriation and repurposing of materials had been debated in the cases of Picasso and Braque’s Cubist collages and had been discussed to the point of exhaustion in the case of the Dadaists. In Rauschenberg’s case, however, a well-known artist’s work was involved. In fact, it had to be involved. Said Rauschenberg later:
I was making drawings myself and erasing them and that just looked like an erased Rauschenberg, and it was nothing. I figured out it had to begin as art, and Bill de Kooning was the best-known acceptable American artist that could be indisputably considered art. (Richmond)
Continue reading Destruction & Ownership: Making through Unmaking