{{Short description|German artist and musician (1931–2021)}} {{Other people|Rutman|Rutman}} {{Use dmy dates|date=June 2021}} {{Infobox artist | name = Robert Rutman | image = | image_size = | caption = | alt = | birth_date = {{birth date|1931|05|15|df=y}} | birth_place = Berlin, Germany | death_date = {{death date and age|2021|6|1|1931|05|15|df=y}} | death_place = Berlin, Germany | field = sculpture, music, painting, etching | movement = sound art, contemporary classical music, industrial music, minimalism | website = [http://www.rutman.de www.rutman.de] }}
'''Robert Rutman''' (15 May 1931 – 1 June 2021)<ref name="Hofbauer, 2011">{{cite web|last1=Hofbauer|first1=Andreas L|title=Bob Rutman: Paintings from the 80s|url=http://www.wonderloch-kellerland.org/bob-rutman-paintings-of-the-80s.html|website=Wonderloch-Kellerland|accessdate=6 October 2016|date=2011}}</ref> was a German visual artist, musician, composer, and instrument builder. Best known for his work with homemade idiophones in his Steel Cello Ensemble, Rutman is regarded as a pioneer of multimedia performance in his mixing of music, sculpture, film, and visual art.<ref name="Palka, 2015" />
==Biography== ===Early life and career===
Born in Berlin in 1931, Rutman's mother was a Jewish actress and his father a Bulgarian brownshirt who died in 1933.<ref name="Morris, 2016">{{cite web|last1=Morris|first1=N.S.|title=The Soul of a City: Berlin and Memory|url=https://lareviewofbooks.org/article/soul-city-berlin-memory/|website=LARB|date=21 July 2016|publisher=Los Angeles Review of Books|accessdate=5 October 2016}}</ref> When the Nazis came to power, he and his mother fled Germany, moving to Warsaw in 1938 and then to Finland just before Hitler invaded Poland. By way of Sweden, Rutman arrived in England in 1939 where he attended refugee schools throughout the Second World War.<ref name="Klangraum, 2007" /> After completing his studies, Rutman moved to New York City in 1950, then had to return to West Germany for military service in 1951.<ref name="Rutman bio">{{cite web|last1=Rutman|first1=Robert|title=Bildhauer, Instrumentenbauer, Klang- erfinder, Maler, Musiker und Zeichner|url=http://www.rutman.de/flash5.html|website=Bob Rutman|accessdate=3 October 2016|archive-date=15 October 2016|archive-url=https://web.archive.org/web/20161015080125/http://www.rutman.de/flash5.html|url-status=dead}}</ref>
In 1952 Rutman returned to the U.S. and worked as a traveling salesman in Dallas, Texas, before moving to Mexico City to enroll in art school. He married in Mexico, and the couple had a son, Eric. In 1962 Rutman returned to New York where he opened a gallery on West Broadway in Greenwich Village called "A Fly Can't Bird But A Bird Can Fly", which presented poetry, theater, music, and visual art as multimedia events.<ref name="Ward, 2000" /> Rutman's collaborators included the Beat poet Philip Lamantia, who mentions Rutman in his poem, "The night is a space of white marble",<ref name="Lamantia, 2013">{{cite book|last1=Lamantia|first1=Philip|title=The Collected Poems of Philip Lamantia|date=2013|publisher=University of California Press|page=139}}</ref> and sculptor Constance Demby, with whom he made his first sound sculptures in 1966.<ref name="Klangraum, 2007">{{cite web|title=Bob Rutman's Steel Cello Ensemble|url=https://www.klangraum.at/en/program/kontraste/overview/07/kontraste-07/bob-rutman2019s-stelle-cello-ensemble|website=Klangraum Krems Minoritenkirche|accessdate=4 October 2016|date=2007|archive-date=5 October 2016|archive-url=https://web.archive.org/web/20161005122314/https://www.klangraum.at/en/program/kontraste/overview/07/kontraste-07/bob-rutman2019s-stelle-cello-ensemble|url-status=dead}}</ref><ref name="Palka, 2015" />
In 1967 Demby and Rutman held several happening-style events that mixed sonic, visual, and performance art centered around big sheets of metal that the artists had found. In one piece called ''The Thing'', Rutman wore a white cardboard box and banged on Demby's sheet-metal creation with "a rock in a sock." In another piece entitled ''Space Mass'', Rutman projected film upon a piece of curved sheetmetal onto which Demby had welded several steel rods that she played as a percussion instrument. Rutman later remarked, "We thought it would sound good as a xylophone, but it didn't."<ref name="Palka, 2015" /> Rutman would later make adjustments to the sheet metal-and-rod contraption, converting it into a fully playable and tunable idiophone.<ref name="Chapman, 2004" />
===Central Maine Power Music Company=== In 1967 Rutman moved to Skowhegan, Maine, where he built a house in the woods and established another multimedia gallery.<ref name="Hofbauer, 2011" /> Though this gallery sent him into bankruptcy within its four years of operation, it was here that Rutman created the instruments for which he became known. Rutman made these new instruments from large panels of flexible sheet metal affixed with steel strings or freely swinging rods that he played with a bass or cello bow.<ref name="Kostelanetz, 2013">{{cite book|last1=Kostelanetz|first1=Richard|title=A Dictionary of the Avant-Gardes|date=2013|publisher=Routledge|location=London|pages=533–34}}</ref> He named one of his creations the steel cello, and another the bow chimes, describing both as "American Industrial folk instruments".<ref name="Palka, 2015" />
In 1970 Rutman founded the Central Maine Power Music Company (CMPMC) as his first ensemble to play these sculptures. The CMPMC included Rutman and Demby, with locals Hugh Robbins, Richie Slamm, and Sally Hilmer, and hammer dulcimerist Dorothy Carter, plus occasional guests who all played Rutman and Demby's bowed sheet metal creations. Rutman's original concept for the group was to have it be made up entirely of handmade instruments, and the group featured a configuration of circular sawblades used as percussion. But according to Rutman, his invented instruments ended up serving more as decorations for their performances, as the other members of the group brought in traditional eastern and western instruments, such as drums, electronic organ, flute, koto, saxophone, tamboura, and yang chin, as well as electronic musical novelties, including the Moog synthesizer and theremin.<ref name="Lewis, 1989">{{cite book|last1=Lewis|first1=Bob|title=Bob Rutman: The Studio Sessions|publisher=VideoVisuals Inc.|location=Newton, Mass<!--|format=Video-->|date=23 August 1989}}</ref>
CMPMC performances had a ritualistic quality that incorporated many non-musicians, such as video artist Bill Etra who added visual elements to their shows.<ref name="Continuo, 2012">{{cite news|last1=Continuo|title=Central Maine Power Music Company|newspaper=Tumblr |url=http://continuo-docs.tumblr.com/post/37704460417/central-maine-power-music-company-cmpmc-was|accessdate=4 October 2016|date=11 December 2012}}</ref> The band toured the East Coast, playing at several planetariums in Massachusetts, as well as Lincoln Center, the World Trade Center, and at the United Nations Sculpture Garden in New York. Rutman told a reporter in 1974:<ref name="Van Der Heide, 1974">{{cite news|last1=Van Der Heide|first1=Anna|date=1974|title=Central Maine musians play 'not music' music|agency=Central Maine Morning Sentinel|location=Athens|url=http://continuo-docs.tumblr.com/post/37704460417/central-maine-power-music-company-cmpmc-was|accessdate=4 October 2016}}</ref>
<blockquote>The best way to describe our music is to call it "not music." You see, it often happens that when people hear us play, they say, either in anger or in delight, "That's not music!" It's somewhat akin to the paintings of Jackson Pollock. When the art buffs first saw his work, with the paint drippings and all, they said, "That's not painting."</blockquote>
===Steel Cello Ensemble===
thumb|Steel cellos at the 2018 Rudolstadt Festival in Germany
As Rutman's instruments piqued the interest of aficionados in both visual art and new music composition, his portfolio as an exhibition and concert artist grew. As art pieces, the steel cello and bow chimes toured to galleries and museums where bows were on hand for anyone to play them. Though his instruments were tunable, Rutman had no formal musical training aside from sporadic childhood piano lessons.<ref name="Chapman, 2004" /> With neither conventional tuning principles nor systems of notation, it was through alternate means that he began teaching many people to play his instruments.<ref name="Johnson, 1980">{{cite news|last1=Johnson|first1=Tom|title=Robert Rutman, Bruce Fier, and New Instruments|url=http://tvonm.editions75.com/articles/1980/robert-rutman-bruce-fier-and-new-instruments.html|accessdate=4 October 2016|agency=The Village Voice|date=14 January 1980}}</ref> He moved to Boston's then-bohemian Cambridgeport neighborhood and disbanded the CMPMC to found a new, all-steel music group in 1976: the Robert Rutman U.S. Steel Cello Ensemble, whose members included Suzanne Bresler, Rex Morrill, Warren Senders, Jim Van Denakker, and David Zaig. A 1977 press release described the group and its instruments:<ref name="MoMA PR, 1977">{{cite web|last1=Hatleberg|first1=Earl|date=1977|title=Museum of Modern Art opens month-long SUMMERGARDEN "POPS" on July 1st|url=http://www.moma.org/momaorg/shared/pdfs/docs/press_archives/5517/releases/MOMA_1977_0056_49.pdf?2010|publisher=Museum of Modern Art|location=New York|page=2|format=Press release|accessdate=4 October 2016}}</ref>
<blockquote>The steel cello is 8ft tall and is made from a sheet of stainless steel anchored into a heavy iron stand. It supports one string, which when bowed creates a multitude of resonances, from delicate brittle sounds to deep rich tones. The bow chime, which is shorter, forms a horizontal curve which supports vertical rods, which when bowed produce complementary metallic tones. The Ensemble consists of one steel cello and three bow chimes and together create sounds equal in dynamics to an orchestra.</blockquote>
The Ensemble toured North America, often playing at science museums and art spaces, as well as concert venues. In 1977 they performed at Harvard University's Science Center and at New York's Museum of Modern Art.<ref name="MoMA, 1977">{{cite web|title=Summergarden|url=http://www.moma.org/momaorg/shared/pdfs/docs/press_archives/5525/releases/MOMA_1977_0064_57B.pdf?2010|publisher=Museum of Modern Art|accessdate=4 October 2016|location=New York|date=1977}}</ref> To further document and promote his work, Rutman founded his own label, Rutdog Records, on which he released albums by his Steel Cello Ensemble. Rutdog also released Dorothy Carter's psych-folk album ''Waillee Waillee'', on which Rutman backs the hammer dulcimerist on his steel cello. Rutman and Carter continued to collaborate for decades thereafter. Rutman's instruments were borrowed by American jazz musician Sun Ra during his 1978 residency at the Modern Theater in Boston; Sun Ra (rather unsuccessfully) attempted to play both the Bow Chime and Steel Cello during the concerts.<ref>Warren Sender: [http://www.warrensenders.com/journal/hanging-out-with-the-man-from-saturn/ Hanging Out With the Man From Saturn]</ref>
In the 1980s Rutman and his instruments began scoring theatrical works by Euripides, Shakespeare, Coleridge, Rilke, Thoreau, and others.<ref name="Palka, 2015" /> In 1980 the Steel Cello Ensemble performed for Peter Sellars' Harvard University stage production of ''King Lear'', and in 1985 worked with Laurie Anderson on Robert Wilson's rendition of ''Alcestis'' at the American Repertory Theatre.<ref name="Palka, 2015" />
In 1986 Rutman was invited to play at the Palais des Beaux-Arts in Brussels, which opened the door to many performances and collaborations in Europe, spanning decades. On his first two tours of Europe, Rutman was joined by fellow American Daniel Orlansky, and the group later expanded to include two Germans, Alexander Dorsch and Stephanie Wolff. Dorsch created a double stringed steel cello which he named "Jericho", and Wollf complimented Rutman's "undertone" throat singing with "overtone" singing. The quartet of Rutman, Orlansky, Dorsch, and Wolff, was immortalized in the 1989 recording ''Noise in the Library'', recorded live at Passionskirche in Berlin on May 31, 1989.<ref>[https://putojefe.com/product/us-steel-cello-ensemble/ US Steel Ensemble] putojefe.com</ref> Some of the prominent venues in the early "European Days" included the Museum of Modern Art in Stockholm, the America Haus in Munich, Haus der Kulturen der Welt in Berlin, the Berlin Atonal, London's Institute of Contemporary Arts, and Warsaw's Palace of Culture and Science.<ref name="Palka, 2015" /> In 1989 Rutman threw himself a farewell party in Cambridge before relocating to his birth city of Berlin where he continued to live and work.<ref name="McLauighlin, 1989">{{cite news|last1=McLaughlin|first1=Jeff|title=Rutman Throwing Own Farewell Party|agency=The Boston Globe|date=4 September 1989}}</ref> In an interview shortly before leaving the U.S., Rutman shared his perspective on his instruments and music:<ref name="Lewis, 1989" />
<blockquote>I see the music as the American industrial. They are the product of our society...indigenous American instruments. They really reflect the sounds of our society, and the engines and drones and stuff like that. The indigenous properties of the instruments have a western harmonic tonality, like a brass horn. They produce this brilliant, harmonic, metallic sound. It's what electronic instruments want to do and really can't in the way that the steel cellos can do. It creates the environment that's both ancient and futuristic at the same time. It spans this whole sense of space and future and past. That's what's inherent in the sound of the instrument.</blockquote>
===Further developments===
Over the years, Rutman developed an interest in Tibetan meditation and music. He spent five years teaching himself to throat sing in the style of Tibet's Buddhist monks and began to match his instruments' low tonalities with his voice.<ref name="Lewis, 1989" /><ref name="Chapman, 2004">{{cite web|last1=Chapman|first1=David|title=Steel Cello / Bow Chime|url=http://davidchapman.info/steel-cellobow-chime-2004/|publisher=David Chapman|accessdate=6 October 2016|date=2004}}</ref> He also re-incorporated traditional non-western instruments into Steel Cello Ensemble performances and recordings, including the tabla, Tibetan horn, and didgeridoo.
Because of the steel cello's mass, Rutman developed lighter weight instruments for impromptu shows. First came the buzz chime, a triangular wooden drone instrument, which he added to his Steel Cello Ensemble.<ref name="Lewis, 1989" /> In the 1990s he satirized his own work by creating the styrophone, a handheld instrument that mimicked the appearance of his bow chimes, but instead of its five protruding brass rods being affixed to giant sheets of steel, they appeared as spindly wires stuck into handheld blocks of styrofoam.<ref name="Ward, 2000" /> Unlike his sheet-metal instruments, which can last indefinitely, each Styrophone is destroyed by the process of playing it. Rutman told an interviewer in 2013:<ref name="Antunovic, 2013">{{cite web|last1=Antunovic|first1=Martina|date=2013|title=Report: Bullshittin' on a Chair with Bob Rutman|url=http://www.kunsthalle.com/berlin/report/report-bullshittin-on-a-chair-with-bob-rutman|website=Platoon Kunsthalle|accessdate=5 October 2016|archive-date=7 May 2016|archive-url=https://web.archive.org/web/20160507171626/http://www.kunsthalle.com/berlin/report/report-bullshittin-on-a-chair-with-bob-rutman|url-status=dead}}</ref>
<blockquote>The styrophone is the exact opposite to the bow chime and the steel cello, which make a very full sound. Instead, the styrophone is like ''Gänsehaut!'' It’s the opposite of beauty, it’s like really ugly and I like that.</blockquote>
Throughout the 1990s Rutman continued to score theatre and film, including Wim Wenders' sequel to ''Wings of Desire'' and Heiner Goebbels' stage adaptation of ''Walden''.<ref name="Hewett, 2012" /> Rutman also toured and recorded with German industrial music group Einstürzende Neubauten.<ref name="Ward, 2000" /><!-- and also played on albums by Meret Becker, Alexander Hacke and Swans. needs refs-->
[[File:Stahlquartett Rudolstadt Festival 06.jpg|thumb|Dresden's Stahlquartett ("Steel Quartet") playing steel cellos at the 2018 Rudolstadt Festival]]
Rutman's training of other musicians has also spawned new generations of steel cellists and bow chimers, many of whom have gone on to compose and perform on the instruments.<ref name="Poole, 2011">{{cite journal|last1=Poole|first1=A.C.|title=Halfway between a whale and a squadron bomber: sublimity and the now chime|journal=CURVE|date=2011|publisher=Coventry University}}</ref> Among these are Klaus Wiese's Nono Orchestra, Wolfram Spyra and Pete Namlook as the duo Virtual Vices,<ref name="Chapman, 2004" /> Mathias Grassow and Adrian Palka.<ref name="Doğantan-Dack, 2016">{{cite book |last1=Doğantan-Dack |first1=Mine |title=Artistic Practice as Research in Music: Theory, Criticism, Practice |date=2016 |publisher=Routledge |location=London |isbn=9781317178217 |pages=XIV–XV |language=en}}</ref> Other sculptor-musicians have designed and constructed their own variations of Rutman's instruments, such as the Dresden-based steel cello ensemble Stahlquartett.<ref name="Metaphon, 2011">{{cite news |title=Stahlquartett / Remko Scha |url=https://metaphon.be/stahlquartett-remko-scha/ |accessdate=14 January 2019 |work=Metaphon |date=25 September 2011}}</ref>
Rutman's instruments are in the collection of the Smithsonian Institution.<ref name="Hofbauer, 2011" /> Instruments similar to Rutman's steel cello and bow chimes continued to appear in Constance Demby's work as "The Whale Sail" and "The Space Bass.” Since their parting in the early 1970s, Demby maintained that Rutman's instruments were adaptations of her own.<ref name="Damby site">{{cite web|last1=Demby|first1=Constance|title=Origin of the Sonic Steel Instruments|url=http://www.constancedemby.com/instruments.html|archive-url=https://web.archive.org/web/20000823192045/http://www.constancedemby.com/instruments.html|url-status=usurped|archive-date=23 August 2000|website=Cosmic Electronic Symphonic Music|accessdate=4 October 2016}}</ref>
===Visual art===
In addition to his music and instruments, Rutman continued to produce and exhibit drawings, oil paintings, engravings and wire sculptures, examples of which can be seen on his website.<ref name="Rutman bio" /> His influence is in the work of Jackson Pollock and abstract impressionism, and he is best known for depicting landscapes, nude figures, Catholic themes, and chairs.<ref name="Antunovic, 2013" />
=== Death === Rutman died in a Berlin hospice facility on 1 June 2021 at age 90.<ref>[https://www.t-online.de/region/berlin/news/id_90141748/kuenstler-musiker-und-berliner-original-robert-bob-rutman-90-ist-tot.html Robert "Bob" Rutman ist tot] {{in lang|de}} t-online.de 2 June 2021</ref>
==Discography== ===Recordings listing Rutman or the Steel Cello Ensemble as primary artist===
* ''Sound of Nothing'' (Art Supermarket Records LP, 1976)<ref name="Suk, 2003">{{cite web|last1=Suk|first1=Moon|title=Eine Unbekannte Zeit|url=http://www.moonsuk.de/assets/heft-cd---eine-unbekannte-zeit.pdf|website=noonsuk.de|accessdate=4 September 2017|location=Berlin|date=2003}}</ref> * ''Bitter Suites'' (Rutdog Records LP, 1979; reissued by Holidays Records, 2013)<ref name="Suk, 2003" /> * ''Steel Cello Ensemble, Live in Europe'' (Rutdog Records cassette, 1987)<ref name="Suk, 2003" /> * ''1940'' (Generations Unlimited cassette, 1988) * ''In A State Of Flux'' (A State of Flux cassette, 1988) * ''Noise in the Library'' (Rutdog Records cassette, 1989)<ref name="Suk, 2003" /> * ''1939'' (Pogus Productions LP, 1989; CD with extra track, 1998)<ref name="AllMusic Discography">{{cite web|title=Robert Rutman {{!}} Album Discography {{!}} AllMusic|url=http://www.allmusic.com/artist/robert-rutman-mn0000961824/discography|website=AllMusic|accessdate=4 September 2017}}</ref> <ref name="WorldCat">{{cite web|title=Rutman, Bob 1931–|url=https://www.worldcat.org/identities/lccn-no2002108268/|website=www.worldcat.org|publisher=OCLC|accessdate=4 September 2017}}</ref><ref name="Suk, 2003" /> * ''Live At The Waterworks, Berlin'' (Stuff Records CD, 1991)<ref name="WorldCat" /><ref name="Suk, 2003" /> * ''Big Waves'' (under the name Spacebow, with Carsten Tiedemann, Noteworks CD, 1995) * ''Music To Sleep By'' (Tresor CD, 1997)<ref name="AllMusic Discography" /><ref name="WorldCat" /><ref name="Suk, 2003" /> * ''Zuuhh!! Muttie Mum!!'' (Die Stadt CD, 1998)<ref name="AllMusic Discography" /><ref name="WorldCat" /> * ''In A State of Flux'' (WCUW cassette, 1998) * "Schritt Um Schritt"/"Buzz Off" (split single with Asmus Tietchens, Die Stadt 7", 1999) * ''Eine Unbekannte Zeit: An Improvised Opera Performed Live In Bremen, Germany'' (Rutdog Records CD, 2003) * ''Rutman, Ginsberg, Hentz, Irmler'' (Klangbad CD, 2011)<ref>{{Cite web|title=BOB RUTMAN Steel Cello Ensemble {{!}} KLANGBAD|url=http://ld7.klangbad.de/releases/bob-rutman-steel-cello-ensemble|url-status=live|archive-url=https://web.archive.org/web/20200922051158/http://ld7.klangbad.de/releases/bob-rutman-steel-cello-ensemble|archive-date=22 September 2020|access-date=2 June 2021|website=ld7.klangbad.de}}</ref> * ''Buzz Off'' (Peking Records CD, 2016)<ref>{{Cite web|title=Peking Records: Releases|url=http://www.pekingrecords.de/finder.php?folder=Releases&content=21|url-status=live|archive-url=https://web.archive.org/web/20180822175947/http://www.pekingrecords.de/finder.php?folder=Releases&content=21|archive-date=22 August 2018|access-date=2 June 2021|website=www.pekingrecords.de}}</ref><!-- Dislocation: A Sonic Evocation Of Psychic Displacement (Coventry University CD, 2009) -->
===Recordings as a guest musician===
* On Dorothy Carter's albums ''Waillee Waillee'' (1978)<ref name="Suk, 2003" /> and ''Lonesome Dove'' (2000), as well as many concerts<ref name="Sun Journal, 1989">{{cite news|title=Rutman and U.S. Steel Band to perform at Lakewood|work=Sun Journal|date=17 July 1989}}</ref> * On William Penn's album ''Crystal Rainbows, The Sounds Of Harmonious Craft'' (1978) * On Geoff Bartley's album ''Interstates'' (1987)<ref name="Suk, 2003" /> * On Meret Becker's album ''Nachtmahr'' (1998) * On Alexander Hacke's album ''Sanctuary'' (2005)<ref>{{Cite web|title=Sanctuary {{!}} Einstürzende Neubauten|url=https://neubauten.org/en/alexander-hacke-sanctuary|access-date=2 June 2021|website=neubauten.org}}</ref> * On the Swans' album ''The Seer'' (2012)<ref>{{Citation|title=The Seer – Swans {{!}} Credits {{!}} AllMusic|url=https://www.allmusic.com/album/the-seer-mw0002401716/credits|language=en|access-date=2 June 2021}}</ref><!-- On Lolita Terrorist Sounds' single "Shaved Girl"/"Curse" (2017) -->
==Other works==
===Filmography=== Rutman's film appearances include: * ''{{ill|The Sun Goddess|de|Die Sonnengöttin}}'' (''Die Sonnengöttin''), by Rudolf Thome (Germany, 1992)<ref name="Filmportal">{{cite web |url = https://www.filmportal.de/person/bob-rutman_24207f3feb0e4394af65f530cfb13547 |title = Bob Rutman |website = filmportal.de |language = de |date = 2021 |access-date = 2 June 2021}}</ref> * ''Faraway, So Close!'' (''In weiter Ferne, so nah''), by Wim Wenders (Germany, 1993)<ref name="Filmportal" /> * ''Räder müssen rollen – Fahrplanmäßig in den Tod'' (1994)<ref name="Filmportal" /> * ''Living on the Edge'', by Luke McBain and Michael Weihrauch (Germany, 1995)<ref name="Filmportal" /> * ''Killer Condom'' (''Kondom des Grauens''), by Martin Walz (Germany, 1996)<ref>{{cite web |url = http://dvd.trinler.net/index.php?mediaid=4040316723084.5&action=show | title = Bob Rutman | website = trinler.net | language = de | date = 2021 | access-date = 2 June 2021}}</ref> * ''Stimmen der Welt'' (1997)<ref name="Filmportal" /> * ''Steel Cello / Bow Chime'', by David Chapman and Adrian Palka (UK, 2004)<ref>{{cite book |last=Cranny-Francis |url = https://books.google.com/books?id=KZZEAgAAQBAJ&pg=PT115 |title = Technology and Touch: The Biopolitics of Emerging Technologies |publisher = Springer |date = 2013 |isbn = 978-1-13-726831-0 | page = 115}}</ref> * ''Bob Rutman: Artist, Musician, Instrument Maker'', by Ira Schneider (Germany, 2007)<ref>{{cite web |url = https://galerie-franzkowiak.de/ira-schneider/ | title = Ira Schneider | website = galerie-franzkowiak.de | language = de | date = | access-date = 2 June 2021}}</ref> * ''How Long Is Now'', by Danielle de Picciotto (Germany, 2010)<ref name="De Picciotto, 2010">{{cite book|last1=De Picciotto|first1=Danielle|title=How long is now: a film by Danielle de Picciotto ; written and directed by Danielle de Picciotto ; [production], Potomak.|publisher=Potomak |date=2010|oclc=711337434}}</ref> * ''Lievalleen'' (2019)<ref name="Filmportal" />
===Live musical collaborations===
* Merce Cunningham's ''Dance Series'' (1969)<ref name="Palka, 2015">{{cite book|last1=Palka|first1=Adrian|authorlink1=Improvisations Towards an Origin: The Steel Cello and the Bow Chime|editor1-last=Dogantan-Dack|editor1-first=Mine|title=Artistic Practice as Research in Music: Theory, Criticism, Practice|date=2015|publisher=Routledge|location=London|pages=219–36}}</ref> * Peter Sellars' stage adaptation of ''King Lear'' (1980), later made into ''a film'' by Jean-Luc Godard (1987)<ref name="Palka, 2015" /> * Robert Wilson's ''Alcestis'' at the American Repertory Theatre with music direction by Laurie Anderson (1986–87)<ref name="Palka, 2015" /> * Heiner Goebbels' adaptation of ''Walden'' (1998)<ref name="Hewett, 2012">{{cite news|last1=Hewett|first1=Ivan|title=Interview with composer Heiner Goebbels|url=https://www.telegraph.co.uk/culture/music/classicalmusic/9350190/Interview-with-composer-Heiner-Goebbels.html|accessdate=4 October 2016|work=The Daily Telegraph|date=22 June 2012}}</ref> * Einstürzende Neubauten, 1998 U.S. tour<ref name="Ward, 2000">{{cite news|last1=Ward|first1=Ed|title=Bob Rutman: Have Steel Cello, Will Travel Anywhere|url=https://www.wsj.com/articles/SB94780247392884841|accessdate=3 October 2016|work=The Wall Street Journal|date=14 January 2000|ref=Ward, 2000}}</ref>
===Art exhibitions===
In addition to displaying his visual artwork at his own concerts, Rutman has had solo exhibitions all over the world.<ref name="Rutman bio" />
* Houston (1959) * Mexico City (1960) * Boston (1962, 1978) * New York City (1963, 1964, 1980, 1983, 1985) * Berlin (1988, 1990, 1991) * Barcelona (1990) * Dresden (1995)
===Publications===
* ''Berlin um Mitternacht'' co-authored with Rüdiger Schaper (Berlin: Argon, 1998)<ref name="Schaper and Rutman, 1998">{{cite book|last1=Schaper|first1=Rüdiger|last2=Rutman|first2=Bob|title=Berlin um Mitternacht|publisher=Argon|language=German|date=1998|oclc=40363083}}</ref>
==References== {{Reflist}}
==External links== * {{official|http://www.rutman.de}} * {{IMDb name}} * {{discogs artist}}
{{authority control}}
{{DEFAULTSORT:Rutman, Robert}} Category:1931 births Category:2021 deaths Category:American composers Category:20th-century American sculptors Category:American male sculptors Category:20th-century American painters Category:American male painters Category:American people of Bulgarian descent Category:American people of German-Jewish descent Category:German composers Category:German male composers Category:German sculptors Category:German male sculptors Category:German painters Category:German male painters Category:Audiovisual artists Category:Jewish emigrants from Nazi Germany to the United Kingdom Category:Emigrants from Nazi Germany to the United Kingdom Category:Musicians from Berlin Category:German people of Bulgarian descent Category:21st-century American painters Category:21st-century American sculptors Category:20th-century American male artists Category:German emigrants to the United States