Feb 29, 2016


Rauschenberg at Gemini G.E.L., Los Angeles, 1969. Photo: Sidney B. Felsen © 1969; Rauschenberg's Collection, 1954.


We are pleased to announce a new Fair Use policy- the first to be adopted by an artist-endowed foundation–that will make images of Rauschenberg's artwork more accessible to museums, scholars, artists, and the public.

This new policy comes at an important moment for image rights, as more institutions are providing free and open access to their archives and digitized collections. Prior to 2015, the Rauschenberg Foundation, like many artist foundations and estates, safeguarded the use of images through licensing agents. Over time, the Foundation observed that the fear of violating copyright restrictions resulted in two unique challenges. First, due to the prohibitive costs associated with rights and licensing, many scholars and professors limit themselves to using freely available images in their lectures, presentations, and publications, which in turn can alter how art history itself is written and taught. Additionally, image licensing hinders the conversion of print publications to digital formats, due to the costs of obtaining rights for a second time.

Furthermore, given the costs and complexities around using images online and on social media, museums and other institutions are limited in the types of images they can post to their channels. As a result, individual users, not institutions, generate many images of artworks that exist in the digital realm. A lack of “official” images with correct captions and attributions leads to the perpetuation of incorrect information online and on social media.

In order to address these challenges and the changing landscape of image rights, the Foundation issued pilot licenses to a select group of museums in 2015, including the Art Institute of Chicago, the Museum of Modern Art (MoMA), the Philadelphia Museum of Art, the San Francisco Museum of Modern Art (SFMOMA), and the Tate Modern.

Inspired by the increased use of Rauschenberg artwork images as a result of this pilot license to museums, the Rauschenberg Foundation has decided to expand its Fair Use policy to the public at large.

Read the full Fair Use policy >

Read more in The New York Times >

Feb 26, 2016



Visit the Artists in Residence page to learn more about the Residency 18 artists. 

Feb 16, 2016


From left to right: Bill Arning (Photo: Eric Hester), Victoria Camblin (Photo: Jill Frank), Lynn Crawford, Kevin Killian (Photo: Christopher Felver), and Cameron Shaw (Photo: Andres Gonzalez)

 

The Robert Rauschenberg Foundation, in partnership with Art in America, has launched a pilot writing fellowship to support arts and culture writing in regions of the country that are often underrepresented in the media. The goal of the fellowship program is to foster new discourse about arts and culture that reflects the diversity of the nation, and increase awareness of culturally rich enclaves often not identified as art centers.

For the inaugural group of fellows, five writers of diverse backgrounds were selected based on their demonstrated commitment to their cities and dedication to writing:

  • Bill Arning has been the director of the Contemporary Art Museum Houston since 2009 
  • Victoria Camblin is the editor and artistic director of the magazine Art Papers, which is based in Atlanta 
  • Lynn Crawford is a fiction writer and art critic based in Detroit, whose most recent novel is Shankus & Kitto (2016)
  • Kevin Killian lives in San Francisco and is a poet, author, editor and playwright of primarily LGBT literature 
  • Cameron Shaw is the executive director and founding editor of Pelican Bomb, a website dedicated to sustaining the visual arts in New Orleans 

These writers, whose disciplines range from poetry to short fiction, will produce one long-form piece focused on arts and culture in their respective city for publication in Art in America this year.

Read the first essay, written by Kevin Killian, now available in the March 2016 issue of Art in America. 

Read Bill Arning's essay in the May 2016 issue of Art in America.

Read Cameron Shaw's essay in the October issue of Art in America

Read Victoria Camblin's essay in the December 2016 issue of Art in America

Feb 9, 2016


Rauschenberg working on The 1/4 Mile or 2 Furlong Piece (1981–98) in his Laika Lane studio, Captiva, Florida, ca. 1983. Photo: Attributed to Terry Van Brunt

The Robert Rauschenberg Foundation is delighted to announce that the artist's The 1/4 Mile or 2 Furlong Piece (1981–98) will be shown at the Ullens Center for Contemporary Art in Beijing from June 12–August 21, 2016. Comprised of approximately 190 parts and stretching over 1,500 feet, this work has been described as a self-contained retrospective, referring to significant developments throughout Rauschenberg's career.

While it will be the first time this monumental artwork has been seen in Asia, it is thirty years since Rauschenberg’s ROCI CHINA was presented at the National Art Gallery, Beijing. The artist first conceived of the Rauschenberg Overseas Culture Interchange (ROCI) while collaborating with master papermakers in Jingxian in 1982. A multi-year international project, ROCI aimed to foster cross-cultural understanding through art.

Read Press Release >

Read more in The Art Newspaper >