LOT DETAILS

Materials:

oil and silkscreen ink on canvas

Measurements:

95.98 in. (243.80 cm.) (height) by 72.36 in. (183.80 cm.) (width)

Exhibited:

New York, New School Art Center, The American Conscience: An Exhibition of Contemporary Paintings, March-April 1964, n.p., pl. 41, no. 42 (illustrated and titled Buffalo). Venice, XXXII Esposizione Biennale Internazionale d'Arte, June-October 1964, n.p. São Paulo, IX Bienal Internacional de São Paulo, Environment U.S.A.: 1957-1967, September 1967-January 1968, p. 164, no. 33. Chicago, Museum of Contemporary Art, Selections from the Collection of Mr. and Mrs. Robert B. Mayer, July-September 1968, n.p., no. 56. Kunstverein Hannover; Kunstmuseum Basel, Robert Rauschenberg, August-December 1970, p. 23 (illustrated).

Literature:

G. Glueck, “Art Notes: Cutting Culture,” New York Times, 23 February 1964, p. 16 (illustrated and titled Buffalo ’63). J. Canaday, “Re Conscious,” New York Times, 1 March 1964, p. 23 (titled Buffalo). E. Genauer, “Social Painters All,” New York Herald Tribune, 8 March, 1964, p. 29 (illustrated). A. Jouffroy, “Rauschenberg,” L’Oeil, no. 113, May 1964, p. 33 (illustrated). “Im Kühlschrank,” Der Spiegel, no. 27, 29 June 1964, p. 70 (installation view illustrated). L’Europeo, vol. 20, no. 29, July 1964 (illustrated in color on the front cover). E. A. Glikes and P. Schwaber, eds., Of Poetry and Power: Poems Occasioned by the Presidency and by the Death of John F. Kennedy, New York, 1964 (illustrated in color on the front cover). M. Amaya, Pop Art… and After, New York, 1965, p. 38 (illustrated). E. Johnson, “The Image Duplicators—Lichtenstein, Rauschenberg and Warhol,” Canadian Art, vol. 23, no. 100, January 1966, p. 16 (illustrated). P. Plagens, “Present-Day Styles and Ready-Made Criticism,” Artforum, vol. 5, no. 4, December 1966, p. 36 (illustrated). J. I. H. Baur, "The Rich Turmoil of Contemporary Art," Chicago Tribune Sunday Magazine, 23 April 1967, p. 44 (illustrated in color). T. Mussman, “A Comment on Literalness,” Arts Magazine, vol. 42, no. 4, February 1968, p. 17 (illustrated). A. G. Mazour and J. M. Peoples, Men and Nations: A World History, New York, 1968 (illustrated). A. Forge, Rauschenberg, New York, 1969, p. 162 (illustrated). H. Grosshans, The Search for Modern Europe, Boston, 1970 (illustrated). S. Hunter, American Art of the 20th Century, New York, 1972, n.p., fig. 521 (illustrated in color and titled Buffalo). R. Martin, "Venice Revisited," Arts Magazine, vol. 48, no. 3, December 1973, p. 57. New York Times Magazine, 4 November 1973 (illustrated in color on the cover). B. Rose, American Art Since 1900, New York, 1975, pp. 219-220, fig. 9-24 (illustrated). E. Johnson, Modern Art and the Object: A Century of Changing Attitudes, New York, 1976, p. 183, fig. 96 (illustrated). J. Perrone, “Robert Rauschenberg,” Artforum, vol. 15, no. 6, February 1977, p. 31 (illustrated). S. E. Morison, et al., A Concise History of the American Republic, New York, 1977, p. 728 (illustrated). A. E. Elsen, Purposes of Art, New York, 1981, p. 221, no. 323 (illustrated). P. Vogt, Contemporary Painting, New York, 1981, pp. 118-119, pl. 42 (illustrated in color). J. Fincher, The Brain: Mystery of Matter and Mind, New York, 1984, p. 80 (illustrated in color). J. Green, American Photography: A Critical History, 1945 to the Present, New York, 1984, pp. 130-131 (illustrated in color). O. G. Ocvirk, et al., Art fundamentals: Theory and Practice, Dubuque, 1985, p. 4, fig. 1.3 (illustrated). H. Hanson, "Not Just Pop," Chicago, April 1988, p. 117 (illustrated in color). "Art of the Western World," Architectural Digest, October 1989, p. 140 (illustrated in color). N. Rosenthal, Robert Rauschenberg, New York, 1990 (illustrated). Robert Rauschenberg: The Silkscreen Paintings 1962-1964, exh. cat., New York, Whitney Museum of American Art, 1990, pp. 108 and 155, fig. 36, no. 63 (illustrated in color). C. J. Mamiya, "We the People: The Art of Robert Rauschenberg and the Construction of American National Identity," American Art, Summer 1993, p. 44 (illustrated). G. K. Fiero, The Humanistic Tradition, Madison, 1995, p. 143, fig. 37.7 (illustrated). D. McCarthy, Pop Art, London, 2000, pp. 72-73 (illustrated in color). P. Mason, Artists in Profile: Pop Artists, Chicago, 2003, p. 40. E. Rielly, The 1960s, Westport, 2003, p. 236. Venice, 1948-1986: The Art Scene, exh. cat., Venice, Fondazione Cassa di Risparmio di Modena, 2006, p. 141 (illustrated). Art in America: 300 Years of Innovation, exh. cat., Beijing, National Art Museum of China, 2007, pp. 264-265 (illustrated in color). Pop Art Portraits, exh. cat., London, National Portrait Gallery, 2007, pp. 131 and 182 (illustrated in color). U. Sienel, Der Siebdruck und seine Druckträger: zur Materialität eines jungen Druckverfahrens, Munich, 2008, p. 246. B. Groseclose and J. Wierich, eds., Internationalizing the History of American Art: Views, University Park, 2009, p. 186, fig. 15 (illustrated). D. Huntsperger, Procedural Form in Postmodern American Poetry, New York, 2010, p. 74. H. Ikegami, The Great Migrator: Robert Rauschenberg and the Global Rise of American Art, Cambridge, 2010, pp. 13, 66, 68-69, 71, 74, 93 and 272, fig. 2.4 (illustrated in color). M. Hand, The Passionate Collector: Robert B. Mayer’s Adventures in Art, Chicago, 2011, pp. 108-109 (illustrated in color). Robert Rauschenberg, exh. cat., New York, Museum of Modern Art, 2016, pp. 191-192, 210-211 and 329, pl. 166, fig. 2 (illustrated in color and studio view illustrated).

Provenance:

Leo Castelli Gallery, New York Acquired from the above by the present owner, 1965