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combine painting
A combine painting is an artwork that incorporates various objects into a painted canvas surface, creating a sort of hybrid between painting and sculpture.〔Artspeak, Robert Atkins, 1990〕 Items attached to paintings might include photographic images, clothing, newspaper clippings, ephemera or any number of three-dimensional objects. The term is most closely associated with the artwork of American artist Robert Rauschenberg (1925–2008) who coined the phrase〔(New York Times October 24 2013 "“We are fortunate to have six Combines from the mid-’50s through 1961,” Ms. Temkin said, referring to the term Rauschenberg coined to describe works that incorporate castoff objects like tires, flatware or furniture." )〕 to describe his own creations. Rauschenberg’s Combines explored the blurry boundaries between art and the everyday world. In addition, his cross-medium creations challenged the doctrine of medium specificity mentioned by modernist art critic Clement Greenberg. Frank Stella created a large body of paintings that recall the combine paintings of Robert Rauschenberg by juxtaposing a wide variety of surface and material in each work ultimately leading to Stella's sculpture and architecture of the 21st century.〔(Unhappy Medium, Frank Stella and Kurt Schwitters by John Haber ). Retrieved January 10, 2010.〕
==Rauschenberg==
Rauschenberg and his artist friend/flat mate Jasper Johns used to design window displays together for upscale retailers such as Tiffany's and Bonwit Teller in Manhattan before they became better established as artists.〔 They shared ideas about art as well as career strategies. Paul Schimmel of the Los Angeles Museum of Contemporary Art described Rauschenberg's ''Combine paintings'' as "some of the most influential, poetic and revolutionary works in the history of American art."〔 But they've also been called "ramshackle hybrids between painting and sculpture, stage prop and three-dimensional scrap-book assemblage" according to ''Guardian'' critic Adrian Searle.〔 Searle believed the "different elements of the Combines have been described as having no more relation than the different stories that vie for attention on a newspaper page."〔 Jasper Johns, as well, used similar techniques; in at least one painting, Johns attached a paintbrush right inside his painting.
Examples of Rauschenberg's ''Combine paintings'' include ''Bed'' (1955), ''Canyon'' (1959), and the free-standing ''Monogram'' (1955–1959).〔 Rauschenberg's works mostly incorporated two-dimensional materials held together with "splashes and drips of paint" with occasional 3-D objects.〔 Critic John Perreault wrote "The Combines are both painting and sculpture–or, some purists would say, neither."〔 Perreault liked them since they were memorable, photogenic, and could "stick in the mind" as well as "surprise and keep on surprising."〔 Rauschenberg added stuffed birds on his 1955 work ''Satellite'', which featured a stuffed pheasant "patrolling its top edge."〔 In another work, he added a ladder. His Combine ''Broadcast'', featuring three radios blaring at once,〔 was a "melange of paint, grids, newspaper clips and fabric snippets." According to one source, his ''Broadcast'' had three radios playing simultaneously, which produced a sort of irritating static, so that one of the work's owners, at one point, replaced the "noise" with tapes of actual programs when guests visited.〔 Rauschenberg's ''The Bed'' had a pillow attached to a patchwork quilt with paint splashed over it.〔 The idea was to promote immediacy.〔
The prevailing theme of Rauschenberg's "combine" paintings is ''"nonmeaning, the absurd, or antiart."'' In this regard the combine paintings relate to Pop art and their much earlier predecessor Dada.〔Varieties of Visual Experience, Edmund Burke Feldman, Harry N. Abrams, Inc.; 3rd edition (March 1987), ISBN 978-0-8109-1735-4〕
抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』
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