Photographer Chris Rauschenberg, son of Robert Rauschenberg, on his father’s desire to ‘talk about the world in all its complexity’ with Buffalo II.
1964 was a year of socio-political, technological and cultural change in America: the nation mourned the murder of President John F. Kennedy; Lyndon Johnson signed the Civil Rights Act; and The Beatles led the ‘British Invasion’ of the American pop market. But 1964 also marked a pivotal moment in the canon of post-war American art.
In a large, lofty studio above a billiard hall on Broadway in New York, Robert Rauschenberg (1925-2008) was finalising Buffalo II, one of the largest in his celebrated series of silkscreen paintings that captured the social, political and artistic zeitgeist of the decade.
‘Buffalo II is emblematic of the moment of its creation,’ states Chris Rauschenberg, the late artist’s son. It is also a work that represents an important moment in his father’s career - the series he made between 1962 and 1964 saw Rauschenberg challenge preconceived notions of what art could be.
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1 июл 2024
