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DTSTART;VALUE=DATE:20261021
DTEND;VALUE=DATE:20261023
DTSTAMP:20261009T195411Z
CREATED:20260821T154252Z
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SUMMARY:ON DRAWINGS 2026 - FULL EVENT PROGRAM
DESCRIPTION:The Drawing Foundation invites you to ON DRAWINGS 2026. Join us in New York City on Wednesday\, October 21st and Thursday\, October 22nd for two days of events and conversations among curators\, collectors\, conservators\, and artists focused on historical\, modern\, and contemporary drawings. \nRegistration is required for all events. \n ON DRAWINGS program is available only to MEMBERS of The Drawing Foundation.\nThe discussion at the Institute of Fine Arts on October 21st is open to everyone.\n \n_______________________ \nFULL EVENT PROGRAM \n  \n \nEarly Hours Exhibition Tour of The Surrealist Book: Tomorrow Lives in Mirrors\nLed by Jodi Hauptman\, The Robert Lehman Foundation Chief Curator of Drawings and Prints\,\nand Starr Figura\, Senior Curator\, Department of Drawings and Prints\, MoMA \n__ \n       \nCurator- & Conservator-led Exhibition Preview Tour of Designing the Gilded Age: Drawings from the Studios of Louis C. Tiffany\nLed by Alice Cooney Frelinghuysen\, Anthony W. and Lulu C. Wang Curator of American Decorative Arts\, and Marina Ruiz Molina\, Conservator\, Paper Conservation Team\,\n The Metropolitan Museum of Art__ \n \nProcess\, Time\, and Technical Discoveries: Reflections on Willem de Kooning Drawing \nFor Willem de Kooning (1904-1997)\, drawing was a direct extension of the mind. He drew constantly\, erasing and redrawing his lines\, tracing them onto vellum\, and transferring them with carbon paper. He also projected\, masked\, and rubbed his images\, while using spray fixative as a medium in its own right to capture the sensation of a fleeting glimpse. The recent exhibition Willem de Kooning Drawing offered an opportunity to conduct technical analysis of many of de Kooning’s drawings to reveal his creative process. Join paper conservator Margaret Holben Ellis and art historian Charlotte Healy for a lively conversation about the years of research leading up to the exhibition and the many technical discoveries that help us understand de Kooning’s oeuvre and drawing practice anew. Ellis and Healy will also reflect on the exhibition’s run at the Art Institute of Chicago and its iteration at the Rijksmuseum to consider broader questions about how drawings are treated\, valued\, and exhibited. \nPresented in partnership with the Conservation Center\, NYU IFA\n \n__ \n  \n \nStudy Center visit focused on the drawings of Roy Lichtenstein and\nExhibition Tour of Roy Lichtenstein: 1997\nLed by David Crane\, Curatorial Research Associate\, Nakai Falcón\, Curatorial Assistant\, and Maya Davis\, Curatorial Fellow\, Whitney Museum of American Art \n__ \n  \n \nSpecial Visit and Viewing of Robert Rauschenberg: NASA Artist and Cloud Correspondent\nLed by Helen Hsu\, Associate Curator for Research\, Robert Rauschenberg Foundation \n \n__ \nWe are grateful to our members\, partners\, and various donors and supporters\, including Master Drawings New York\, whose contributions make our programs possible.
URL:https://thedrawingfoundation.org/event/on-drawings-2026/
CATEGORIES:Events,Upcoming
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20261021T093000
DTEND;TZID=America/New_York:20261021T103000
DTSTAMP:20260930T030653Z
CREATED:20260929T034558Z
LAST-MODIFIED:20260930T030653Z
UID:10000203-1792575000-1792578600@thedrawingfoundation.org
SUMMARY:ON DRAWINGS 2026 - Early Hours Exhibition Tour at MoMA
DESCRIPTION:Join us for a special private tour of the recently opened exhibition The Surrealist Book: Tomorrow Lives in Mirrors\, led by Jodi Hauptman\, The Robert Lehman Foundation Chief Curator of Drawings and Prints\, and Starr Figura\, Senior Curator\, Department of Drawings and Prints\, MoMA. Don’t miss this opportunity to view these precious and uniquely surreal objects up close with the exhibition’s curators before the museum opens to the public. \nSpeaker bios: \nJodi Hauptman is The Robert Lehman Foundation Chief Curator of Drawings and Prints. Her many exhibitions include Cézanne Drawing (2021)\, Engineer\, Agitator\, Constructor: The Artist Reinvented (2020)\, Edgar Degas: A Strange New Beauty (2016)\, Henri Matisse: The Cut-Outs (2014)\, and Georges Seurat: The Drawings (2007). Her publications have been recognized by the Association of American Publishers\, the Dedalus Foundation\, and the Smithsonian American Art Museum. Hauptman has lectured widely on modern and contemporary art and has contributed essays to exhibition catalogues\, edited volumes\, and scholarly journals\, on such subjects as Sophie Taueber-Arp\, Medardo Rosso\, Sonia Delaunay-Terk\, and Léopold Survage. An advocate for collaborations between curators and conservators\, Hauptman received the College Art Association/American Institute for Conservation Award for Distinction in Scholarship and Conservation (2019). She holds an AB from Princeton University and a PhD from Yale University. \nStarr Figura is Senior Curator in the Department of Drawings and Prints and a specialist in modern and contemporary prints. Among the many exhibitions she has organized over the years are Félix Fénéon: The Anarchist and the Avant-Garde (2020)\, Gauguin: Metamorphoses (2014)\, German Expressionism: The Graphic Impulse (2011)\, and Lucian Freud: The Painter’s Etchings (2007). Part of the team that reinstalled the Museum’s expanded\, reimagined\, and cross-media collection galleries in 2019\, she is closely involved in the ongoing program of their frequent reinstallation. Prior to joining the Museum in 1993\, Starr worked in the Print Room at the New York Public Library and at the Philadelphia Museum of Art. She holds an MA in art history from Columbia University\, and a BA in art history from Bryn Mawr College. \n__ \nThe Surrealist Book: Tomorrow Lives in Mirrors\nOctober 4\, 2026 – January 23\, 2027\nExhibition Details: \nA book bound with shards of shattered glass. A manifesto enshrined in polished metal. Love poems seamlessly merging with solarized photographs. For artists and writers of the Surrealist movement\, the book was a perfect vehicle for subversive experimentation and the promotion of Surrealism’s revolutionary tenets. Working collaboratively to unlock the unconscious\, they transformed the bound volume into a provocative new art form\, an enchanted portal to the unexpected\, the irrational\, and the marvelous. \nThe Surrealist Book features the work of Surrealism’s most fascinating figures\, including André Breton\, Salvador Dalí\, Claude Cahun\, Paul Éluard\, Toyen\, Max Ernst\, and Unica Zürn. It traces the myriad roles of Surrealist books from their foundational impact in the 1920s\, through their convention-defying influence in the 1930s and ’40s\, to the persistent presence of a Surrealist sensibility in volumes produced well into the 1950s and ’60s. \nThe exhibition showcases a transformative gift of rare artists’ books from the Helen and Sam Zell Collection\, presented for the first time at MoMA. This trove of exquisite objects includes special editions printed on unusual papers or enhanced with supplementary materials\, unique maquettes and singular sketchbooks filled with collages and fantastical drawings\, sculptural bindings that turn books into hybrid\, interactive artworks\, and much more. Whether sparking disquiet or delight\, books\, the Surrealists insisted\, “are doors.” Whoever “opens them is immediately thrown into a higher realm.” \n___ \nThis event is open to members of The Drawing Foundation. Log in to your membership account to register or sign up to become a member today. \nThis event is organized by The Drawing Foundation in partnership with MoMA as part of On Drawings 2026. \n           \nImage: Unica Zürn (1916-1970)\, artist and author. Orakel und Spektakel\, IV. Buch: Anagramme und Zeichnungen (Oracle and Spectacle\, Book IV: Anagrams and Drawings). 1960. (detail) Book with ink\, colored ink\, pencil\, torn-and-pasted paper\, dried plant material\, feathers\, envelopes\, playing card\, and embroidery-thread winder with thread; pamphlet binding with red paper wrapper with cut-and-pasted paper and drawing in ink on torn-and-pasted papers. The Museum of Modern Art\, New York. Gift of Helen and Sam Zell\nPhoto by Ben Blackwell © Verlag Brinkmann & Bose\, Berlin\, Germany
URL:https://thedrawingfoundation.org/event/on-drawings-2026-exhibition-tour-at-moma/
LOCATION:MoMA\, 11 West 53 Street\, New York\, NY\, 10019\, United States
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20261021T140000
DTEND;TZID=America/New_York:20261021T153000
DTSTAMP:20260930T032153Z
CREATED:20260929T041952Z
LAST-MODIFIED:20260930T032153Z
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SUMMARY:ON DRAWINGS 2026 - Exhibition Preview Tour at The Met
DESCRIPTION:Join curator Alice Cooney Frelinghuysen and paper conservator Marina Ruiz Molina for a private tour of the exciting about-to-open exhibition Designing the Gilded Age: Drawings from the Studios of Louis C. Tiffany\, which explores the creative process behind some of Tiffany Studios’ most celebrated works. Frelinghuysen and Ruiz Molina will offer an introduction to the exhibition in the galleries and discuss these rarely seen works on paper and discuss their collaboration\, as well as the extensive conservation project that yielded many new insights to these drawings and questions of collaboration and studio practice for Tiffany Studios. \n*Please note that we hope to offer a similar tour in early February\, during Drawings Week. As space on such tours is limited\, we encourage members based in the New York area to join us for the October tour so we can open as many spots as possible to members from out of town in February. \nSpeaker bios: \nAlice Cooney Frelinghuysen is the Anthony W. and Lulu C. Wang Curator of American Decorative Arts at The Metropolitan Museum of Art. A graduate of Princeton University\, she received her M.A. at the Winterthur/University of Delaware M.A. Program in Early American Culture. She has curated and published widely on a variety of subjects relating to American ceramics\, glass\, stained glass\, late nineteenth-century furniture\, the Gilded Age\, and many aspects of the work of Louis C. Tiffany. Among her numerous exhibitions\, articles\, and publications include Herter Brothers: Furniture and Interiors for a Gilded Age (1994)\, Louis Comfort Tiffany and Laurelton Hall—An Artist’s Country Estate (2006)\, Artistic Furniture of the Gilded Age (2016)\, The Stained Glass Windows of St. Andrew’s Dune Church (2021); Gifts from the Fire: American Ceramics\, 1880-1950 (2021); and Luminous Garden: Agnes Northrop and the Women of Tiffany Studios (2026)\, the latter celebrating a transformative acquisition and installation in The American Wing. \nIn 2014 Frelinghuysen was awarded the Frederic E. Church Award for contributions to American Culture\, and in 2016 she was the Clarice Smith Distinguished Scholar Lecture for the Smithsonian American Art Museum\, Washington\, D.C. Her most recent project\, and the subject of her lecture is an exhibition and catalogue\, Designing the Gilded Age: Drawings from the Studios of Louis C. Tiffany\, which opens at The Met in mid-October and closes in early February\, an in-depth look at a selection from the Museum’s extraordinary holdings of this rare material. \nIn addition to her work at The Met\, Frelinghuysen serves on the board of the Charles Hosmer Morse Foundation\, Shelburne Museum\, the Editorial Board of Ceramics in America\, and is an emeritus chair of the American Ceramic Circle\, and emeritus board member of the Princeton University Art Museum Advisory Council\, and the Visiting Nurse Service of New York. \nMarina Ruiz Molina joined the Department of Paper Conservation at The Metropolitan Museum of Art in 2008 to complete a Research Scholarship and became a member of the staff in 2010. She holds an MA from the University of Málaga\, Spain\, and a Graduate degree in Conservation from the Escuela Superior de Conservación y Restauración de Bienes Culturales in Madrid\, Spain. She serves as liaison across diverse museum collections with a focus on South and Southeast Asian art on paper and has contributed significantly to The Met’s ongoing efforts towards the standardization and implementation of best practices for multiband imaging. As an active researcher and mentor\, Ruiz Molina publishes\, presents\, and teaches regularly in the United States\, Europe\, and India. \nSince 2010 Ruiz Molina has worked on the conservation and study of drawings created by the studios of Louis C. Tiffany. Highlights of her research on the subject include the article co-written with Christine Olsen Drawing\, Photography\, and the Design of Tiffany Studios’ Te Deum Laudamus Mosaic Triptych in The Metropolitan Museum Journal 51 (2017) followed by a presentation on the topic at the 56th annual Seminar at The Corning Museum of Glass; and “The Conservation of Tiffany Studio Drawings: Finding New Ways to Reconstruct Complex Paper Loss” in The Book and Paper Group 33 (2014). Ruiz Molina has collaborated closely with Anthony W. and Lulu C. Wang Curator of American Decorative Arts Alice Cooney Frelinghuysen on the exhibition and catalogue Designing the Gilded Age: Drawings from the Studios of Louis C. Tiffany. \n__ \nDesigning the Gilded Age: Drawings from the Studios of Louis C. Tiffany\nOctober 22\, 2026 – February 7\, 2027\nExhibition Details: \nThe dazzling stained-glass windows\, lamps\, mosaics\, and interiors from the studios of the visionary American artist Louis Comfort Tiffany—hallmarks of the Gilded Age—began as drawings created by the many talented designers in Tiffany’s studios. Designing the Gilded Age: Drawings from the Studios of Louis C. Tiffany showcases rare design drawings to take us behind the scenes of the studios where the drawings were made and ultimately transformed into enduring works of art. Intended for commissions dating from the mid-1880s through the 1920s in the U.S. and internationally\, the nearly 120 luminous watercolor drawings present the first step in the artistic process for interiors and decorations for the grand mansions\, civic and sacred spaces\, and other buildings created during America’s Gilded Age\, the post–Civil War era that saw an unprecedented accumulation of wealth. \nMany of the drawings document works that have since been lost\, damaged\, or destroyed\, while others showcase ideas for designs that were never realized. The exhibition also brings together extraordinary stained-glass windows\, mosaics\, enamelwork\, and examples of the studio’s iconic lamps in side-by-side displays with their original designs\, allowing a rare view of the journey from artistic conception to finished product. Virtually everything produced in Tiffany’s workshops was the result of a collaborative process; the initial steps took place in the studio where artists Tiffany hired—often émigrés and women—realized his vision. \nThe featured drawings\, all from The Met collection\, have never before been studied in depth\, and the exhibition celebrates the decades-long conservation initiative that restored them to their full beauty. Along with new insights into the artists’ process and design inspiration\, the drawings offer a unique opportunity to peel back the layers of some of the most heralded creations produced by Tiffany’s legendary studios. \n___ \nThis event is open to members of The Drawing Foundation. Log in to your membership account to register or sign up to become a member today. \nThis event is organized by The Drawing Foundation in partnership with The Met as part of On Drawings 2026. \n      \nImage: Louis C. Tiffany (1848–1933)\, Design for a Church Interior\, c. 1892-1902. Transparent and opaque watercolor\, metallic paint\, and graphite on paper. The Metropolitan Museum of Art\, Walter Hoving and Julia T. Weld Gifts and Dodge Fund\, 1967.
URL:https://thedrawingfoundation.org/event/on-drawings-2026-exhibition-tour-at-the-met/
LOCATION:The Metropolitan Museum of Art\, 1000 Fifth Avenue\, New York City\, NY\, 10028\, United States
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20261021T180000
DTEND;TZID=America/New_York:20261021T193000
DTSTAMP:20260930T194200Z
CREATED:20260929T040433Z
LAST-MODIFIED:20260930T194200Z
UID:10000205-1792605600-1792611000@thedrawingfoundation.org
SUMMARY:ON DRAWINGS 2026 - Process\, Time\, and Technical Discoveries: Reflections on Willem de Kooning Drawing
DESCRIPTION:For Willem de Kooning (1904-1997)\, drawing was a direct extension of the mind. He drew constantly\, erasing and redrawing his lines\, tracing them onto vellum\, and transferring them with carbon paper. He also projected\, masked\, and rubbed his images\, while using spray fixative as a medium in its own right to capture the sensation of a fleeting glimpse. The recent exhibition Willem de Kooning Drawing offered an opportunity to conduct technical analysis of many of de Kooning’s drawings to reveal his creative process. Join paper conservator Margaret Holben Ellis and art historian Charlotte Healy for a lively conversation about the years of research leading up to the exhibition and the many technical discoveries that help us understand de Kooning’s oeuvre and drawing practice anew. Ellis and Healy will also reflect on the exhibition’s run at the Art Institute of Chicago and its iteration at the Rijksmuseum to consider broader questions about how drawings are treated\, valued\, and exhibited. \nWillem de Kooning Drawing was on view at the Art Institute of Chicago June 14 – September 20\, 2026. Willem de Kooning at work is on view at the Rijksmuseum\, Amsterdam October 9\, 2026 – January 17\, 2027. \n \nMargaret Holben Ellis and Charlotte Healy examining Willem de Kooning’s Untitled (c. 1950) in the paper lab at the Art Institute of Chicago\, December 1\, 2022. Photograph by Francesca Casadio. \nSpeaker Bios \nMargaret Holben Ellis is the Eugene Thaw Professor Emerita of Paper Conservation at the Institute of Fine Arts\, New York University\, and former director of the Thaw Conservation Center\, Morgan Library and Museum. She was the Exhibition Paper Conservator for Willem de Kooning Drawing (2026) at the Art Institute of Chicago and a co-editor of the accompanying catalogue. She was awarded fellowships at the American Academy in Rome\, Getty Conservation Institute\, and Menil Drawing Institute. She has published essays on Lucas Samaras\, Jean Dubuffet\, Roy Lichtenstein\, and Jackson Pollock\, and edited Historical and Philosophical Issues in the Conservation of Works of Art on Paper (Getty Conservation Institute\, 2014). Active professionally\, she is a Fellow and past president of the American Institute for Conservation (AIC); a Fellow of the International Institute for Conservation of Historic and Artistic Works (IIC); and an Accredited Conservator/Restorer of the Institute of Conservation (ICon). \nCharlotte Healy is Associate Research Curator for The Willem de Kooning Foundation. Previously\, as a Senior Research Associate in Prints and Drawings at the Art Institute of Chicago\, she co-curated the exhibition Willem de Kooning Drawing (2026) and co-edited the accompanying catalogue. Other recent publications include essays in James McNeill Whistler’s Reception and Artistic Legacy: Inventing Whistlerism (2026) and Ruth Asawa: Retrospective (2025). In 2020–21\, she was a Morgan-Menil Predoctoral Fellow at the Morgan Library & Museum and the Menil Drawing Institute. In 2018–20\, as a fellow and research assistant in Painting & Sculpture at the Museum of Modern Art\, she contributed to the exhibition Sophie Taeuber-Arp: Living Abstraction (2021–22) and co-edited the accompanying catalogue. She received her BA in art history and mathematics from Williams College and her PhD from the Institute of Fine Arts\, New York University\, with a dissertation on Paul Klee. \nModerated by: \nDaniella Berman\, Ph.D.\, Director of Partnerships & Programs\, The Drawing Foundation\nLisa Conte\, Assistant Professor of Paper Conservation and Chair of the Conservation Center \n___ \nThis event is organized by The Drawing Foundation in partnership with Conservation Center\, NYU IFA as part of On Drawings 2026. \n  \n           \nImage: Willem de Kooning (1904-1997)\, Woman and Abstract Figure\, c. 1947–49 (detail). Matte opaque paint (possibly oil) with fine particulate filler\, enamel\, carbon transfer drawing\, and graphite pencil on pressed paper cover stock. Private collection\, Los Angeles\, courtesy of Caroline Schmidt Fine Art LLC\, New York. © 2026 The Willem de Kooning Foundation / Artists Rights Society (ARS)\, New York.
URL:https://thedrawingfoundation.org/event/on-drawings-2026-de-kooning-drawings/
LOCATION:Institute of Fine Arts\, New York University\, 1 East 78th Street\, New York\, NY\, 10075\, United States
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20261022T100000
DTEND;TZID=America/New_York:20261022T120000
DTSTAMP:20260930T033856Z
CREATED:20260929T045150Z
LAST-MODIFIED:20260930T033856Z
UID:10000208-1792663200-1792670400@thedrawingfoundation.org
SUMMARY:ON DRAWINGS 2026 - Exhibition Tour & Study Room Visit at The Whitney
DESCRIPTION:Focus on Roy Lichtenstein’s drawings: Study Room Visit and Exhibition tour of Roy Lichtenstein: 1997\nLed by David Crane\, Curatorial Research Associate\, Nakai Falcón\, Curatorial Assistant\, and Maya Davis\, Curatorial Fellow\, Whitney Museum of American Art \nJoin us for a morning focused on Roy Lichtenstein’s drawings. We’ll start in the Whitney’s study center to view a stunning selection from the collection. After some close looking and discussion about the artist’s drawing practice and use of materials\, the group will move to the galleries to explore Roy Lichtenstein: 1997\, a newly-opened exhibition of works on paper by the artist installed to coincide with the major Lichtenstein retrospective (Roy Lichtenstein: Like New) also on view in the museum. Visitors will be free to remain at The Whitney after the group visit. \n___ \nRoy Lichtenstein: 1997\nOctober 11\, 2026 – June 1\, 2027\nExhibition details: \n\n\n\nIn 1997\, at the age of seventy-three\, Roy Lichtenstein (1923–1997) was as innovative and productive as ever. In addition to his studio painting practice\, he was working on a variety of adventurous projects\, among them two mural commissions\, several large-scale sculptures\, and a new series of prints. Decades after his paintings inspired by comics and other images of American consumer culture helped usher in the Pop art era\, Lichtenstein began to expand his palette of mostly primary colors\, adding vibrant highlights of mint green and turquoise\, coral and cyan. He also started to make work without his signature bold black outlines\, resulting in images that respond to the aesthetics of the early digital age. At the same time\, he continued to reuse images\, such as pyramids and brushstrokes\, from his own work and to quote an array of visual references\, including iconic works by Leonardo da Vinci and Henri Matisse\, as he had done throughout his career. \nLichtenstein fell ill in August 1997 and died unexpectedly the following month due to complications from pneumonia\, leaving a number of works unfinished. Some were fabricated or completed posthumously\, while others exist only as sketches. By bringing together materials related to these projects\, many from the Whitney’s collection\, Roy Lichtenstein: 1997 offers insight into the range of the artist’s late experimentation and illustrates his ongoing interest in new technologies and their effects on image making. \nRoy Lichtenstein: 1997 runs in conjunction with the major exhibition Roy Lichtenstein: Like New\, on view from October 11\, 2026 – May 10\, 2027. \nThe exhibition is organized by David Crane\, Curatorial Research Associate\, and Nakai Falcón\, Curatorial Assistant\, Whitney Museum of American Art \n___ \nThis event is open to members of The Drawing Foundation. Log in to your membership account to register or sign up to become a member today. \n\n\n\nThis event is organized by The Drawing Foundation in partnership with the Whitney Museum of American Art as part of On Drawings 2026. \n           \nImage: Roy Lichtenstein (1923-1997)\,  Artist’s Studio “Look Mickey” (Study)\, 1973 (detail). Colored pencil\, graphite pencil\, acrylic and collage on paper. Whitney Museum of American Art\, The Roy Lichtenstein Study Collection\, gift of the Roy Lichtenstein Foundation. © Estate of Roy Lichtenstein \n 
URL:https://thedrawingfoundation.org/event/on-drawings-2026-exhibition-tour-study-room-visit-at-the-whitney/
LOCATION:Whitney Museum of American Art\, 99 Gansevoort Street\, New York\, NY\, 10014\, United States
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20261022T140000
DTEND;TZID=America/New_York:20261022T150000
DTSTAMP:20260930T160732Z
CREATED:20260929T052414Z
LAST-MODIFIED:20260930T160732Z
UID:10000209-1792677600-1792681200@thedrawingfoundation.org
SUMMARY:ON DRAWINGS 2026 - Exhibition Tour at the Robert Rauschenberg Foundation
DESCRIPTION:An Exploration of Robert Rauschenberg’s Drawings\nLed by Helen Hsu\, Associate Curator for Research\, Robert Rauschenberg Foundation \nJoin us for this rare opportunity to tour the studio of Robert Rauschenberg (1925-2008). We’ll have the opportunity to look closely at the artist’s drawings and go through the installation Robert Rauschenberg: NASA Artist and Cloud Correspondent\, which explores Rauschenberg’s interest in and use of NASA press photographs across a variety of media that expand our understanding of how the artist used drawings. \n__ \n Robert Rauschenberg: NASA Artist and Cloud Correspondent \nRobert Rauschenberg was an artist who pulled life into his art. As he told his biographer Calvin Tomkins\, “I think I relate more to society than to any idea about art history. I feel the world is here to do something about and with.” In 1969\, when the National Aeronautics and Space Administration (NASA) Art Program invited him to witness the launch of Apollo 11—the first spaceflight to land astronauts on the moon—Rauschenberg jumped at the opportunity. The NASA Art Program had developed in 1962 to supplement the precise scientific photographic documentation with artworks that captured the “inner meaning and emotional impact” of NASA’s space efforts. True to this spirit\, Rauschenberg excerpted\, layered\, and transformed imagery from NASA press photographs into a suite of more than thirty Stoned Moon editions made at Gemini G.E.L. in Los Angeles and an illustrated plan for a book. \nThe works in this exhibition draw out Rauschenberg’s focus on space through evocative artwork titles and skyward focused imagery. In 1988\, he scrawled down his thoughts on an airline ticket sleeve mid-flight to Newark Liberty Airport\, identifying himself as a “cloud correspondent.” As a soaring messenger\, his references to astronauts\, celestial bodies\, and an urge to gaze at—and travel through—the sky permeated beyond his Stoned Moon series\, starting with his earlier transfer drawings of the 1950s and 1960s and his silkscreen paintings (1962–64). The references continued unabated in works from Rauschenberg’s later artwork series\, included in this installation: Gluts (1986–94)\, Rauschenberg Overseas Culture Interchange (ROCI; 1984–91)\, Urban Bourbons (1988–96)\, and Scenarios (2002–06). In 1991 the artist reflected\, “I even feel restricted with the world as small as it is already. I’m trying to take advantage of as much of it as possible. I’m old enough that I probably won’t run out of land\, but I would like to go to the moon.” \nThis installation was curated by Julia Blaut\, Senior Curator and Kristen Clevenson\, Assistant Curator; selections from the Robert Rauschenberg Foundation archives were made by Francine Snyder\, Director of Archives. It complements The Ascent of Rauschenberg: Reinventing the Art of Flight\, curated by Carolyn Russo (Rauschenberg research resident\, 2019)\, opening July 1 at the Smithsonian’s National Air and Space Museum in Washington\, D.C. \nAbout the Robert Rauschenberg Foundation:\n \nThe Robert Rauschenberg Foundation builds on the legacy of artist Robert Rauschenberg\, emphasizing his belief that artists can drive social change. Rauschenberg sought to act in the “gap” between art and life\, valuing chance and collaboration across disciplines. As such\, the Foundation celebrates new and even untested ways of thinking. \nThe Foundation and archive operates out of 381 Lafayette Street\, Rauschenberg’s former studio and home. \n___ \nThis event is open to members of The Drawing Foundation. Log in to your membership account to register or sign up to become a member today. \nThis event is organized by The Drawing Foundation in partnership with the Robert Rauschenberg Foundation as part of On Drawings 2026. \n           \nImage: Robert Rauschenberg (1925-2008)\, Stoned Moon Drawing\, 1969 (detail). Photographs\, typewritten paper\, Polaroids\, printed reproductions\, and crayon on illustration board. © Robert Rauschenberg Foundation
URL:https://thedrawingfoundation.org/event/on-drawings-2026-rauschenberg-foundation/
LOCATION:Robert Rauschenberg Foundation\, 381 Lafayette Street\, New York\, 10003\, United States
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