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.
I can’t remember exactly how long ago the first funeral I attended was. I was nine years old, maybe ten, and one of the counselors from my daycare center had committed suicide. He was everything I had wanted to be back then: smart and funny, with an immensely inventive creative mind. I remember the way his Adam’s apple bobbed and his voice cracked when he spoke—he was only sixteen—and the way his hair curled where it was long in the back. His father’s voice broke, too, when he gave the eulogy. I remember being sad and terribly confused.
The most recent funeral I attended was this past March. He was a friend, and the husband of my office’s admin. He was one of the first people to compliment my photography. He had a sudden heart attack, and passed away after spending a few weeks in a coma. It was chilly and gray on the morning we gathered at the Miramar National Cemetary, but though it rained before and almost immediately afterwards, during the actual service it was dry. Even though I was expecting it, the crack of the rifle salute made me jump.
I’ve been to a lot of funerals in my life, which is just to say that, whether friends or family, I’ve lost a lot of people. And I’ve grieved.
That I’m thinking about grief today makes sense, because for the last several hours I’ve been watching what seems like the whole world grieving over Prince’s death. It would have surprised a younger me that I am grieving as well.
I remember exactly where I was when I found out that Kurt Cobain had died. It was April of 1994, and I was on a week-long school camping trip. We were on our way from one campsite in Anza-Borrego to another in Joshua Tree and the bus had stopped at a supermarket in Twentynine Palms so that we could all go to the bathroom and pick up some more supplies. All of the newspapers in the vending machines outside had Cobain’s face on the front page. I remember being unfazed, because that was before—just before—music really started to matter to me. I looked over and saw a girl named Britta bent over with her arms wrapped around her stomach, sobbing uncontrollably. I didn’t say anything, but I remember being surprised and confused. “Why are you so upset?” I thought. “It’s not like you knew him.”
And my fourteen-year-old self would be equally surprised—no, more so—that I spent a good chunk of this morning quietly sniffling at my desk and hoping that my cubemates didn’t notice. I didn’t know Prince. I’d never even been in the same room as him. And though I have enjoyed his music for a long time, it wasn’t the foundational music of my life; I didn’t even really listen to it all that often. Nevertheless, I am grieving his loss.
The way I feel right now is not the same as the way I felt when I watched my mother and her sisters open the urn and empty their father’s ashes into San Francisco Bay. It’s not the same as the way I felt when I found out that a friend had jumped off the Bixby Bridge. But these emotions are no less real for being different.
I’ve seen a lot of “Man, fuck 2016” on the Internet today, as for the past several months. David Bowie, Alan Rickman, Phife Dawg, Merle Haggard, and now Prince. And more besides. At each passing I’ve seen an outpouring of love, of sadness, of memories—though perhaps none so much as with Bowie and Prince. What I understand now in ways that I didn’t when I was a high-school freshman is that whether or not you know an artist personally, they may still be a part of your life. If that connection is different from what you have with a close friend or loved one, it is nonetheless still meaningful and profound, and the loss of that presence is truly a loss.
I have seen so many people today talk about how Prince’s music, his style, his life, made them feel accepted, helped them find a sense of self. Back in January people said the same of David Bowie. I can’t honestly say the same thing, but, even so, there was this sense of security, of continuity, to knowing that they were out there, doing their own thing and doing it so perfectly, so singularly. If I didn’t think of them every day, the days that I did think of them did make me think about accepting myself and accepting my work, about letting myself be OK with the idea that I’m different from other people. And now that they are gone, the world does seem a little less bright.
We are all in some way or another looking for connection. And that feeling, that recognition and acceptance can come in a lot of different ways from a lot of different places. I find it in a certain look in my wife’s eyes, in the laughter of my children, in the memory of my grandfather’s slow, deep drawl. I find it, too, in the way Lin-Manuel Miranda’s voice cracks in “Dear Theodosia,” and in the tenderness of Judith Fox’s photographs in I Still Do, and in Jude’s brokenness in Hanya Yanagihara’s A Little Life. And today I’m finding it in the unshakeable confidence of Prince’s guitar, a confidence I have never felt but which he makes me think some day I could.
If you’re feeling a little lost today, if you’re feeling sad: it’s OK. It’s OK to feel that way. I feel it too. We can feel it together.
Why I Haven't Been Writing (Fuck It All)
I’m finding lately that I’m having trouble writing for this blog. Everything I want to say, that I feel a need to comment on, it goes into my journal and stays unseen. Broken language, sentences half-completed and perhaps only a quarter thought-out, not real ideas themselves but only pointers to help remind me later what I was thinking. But do I ever look back? Not really.
Or it goes on Twitter and flies by, and disappears into the ether, a massive particle sliding through a mile of lead but, at most, only weakly interacting. You see writers who wring their hands about the ephemerality of a tweet, not realizing that this is its most fundamental source of power. To say the thing and have it not matter at all, to know that even in the moment of its creation it is already gone. It is an unburdening even as it is an erasure.
Or did I say it already? To you, perhaps? Did I spill a thousand words into your inbox when you asked me a simple question? Did you even ask? But you heard from me all the same, at length and in detail.
Writing for a blog: it’s not as immediate as a tweet, as private as a journal, as directed as a message. And having said the thing once, having already written it down, to decide to take the same idea and copy it and post it again elsewhere is to decide that this thing must be said, that it must be shared, that it is of value. It is a conscious choice, in a way that it wasn’t the first time I wrote it. It becomes, I am too aware, a performance. An ode to my own insight or wit—or at least my loquacity.
And yet. “Hey, what happened to your blog?” is a question I am asked from time to time. “I kind of miss when you posted more.” It has happened; not often, but more often than I’m ever comfortable admitting.
So: fuck it. Fuck all the self-criticism and the Impostor Syndrome and the laziness and the exhaustion. Fuck always wondering if I’m talking too much, always thinking that I’m not important enough or smart enough or deserving enough of an opinion and a place to put it. Fuck thinking that this stupid blog doesn’t matter. It doesn’t matter, but it matters to me. And fuck worrying that I’m going to say the wrong thing, because I’m the wrong person, because I’m going to fuck it up. I will fuck it up. I know I will. But I know I can count on you to tell me when I do, and I know that’s better than worrying.
I’m going to try, again.