Word: rauschenberg
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Dates: during 1960-1969
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...Robert Rauschenberg is utterly open-minded in defining art. He has painted completely black pictures and completely white ones. Once he tried making pictures out of dirt packed in boxes; when grass sprang up, he was delighted. Wheedling a drawing out of Willem de Kooning, the dean of abstract expressionists, he laboriously erased it, and then boldly displayed it under the label Erased De Kooning Drawing, Robert Rauschenberg...
Truth in Garbage. Rauschenberg has been called a neo-Dadaist, a belated abstract expressionist, a junk assemblagist, a pop artist, a hyper-cubist, even an anti-artist and, of course, a nut. "Great!" he says. "I like that. I'm only concerned when the critics stop changing their minds and get a fix on me." Getting a fix is hard because change is the essence of his experimentation. Yet at the heart of Rauschenberg's work is a clear conviction that a heightened order of truth can be found in everything and anywhere, even in the garbage dump...
...Painting relates to both art and life," Rauschenberg once said. "I try to act in the gap between the two." For him, painting must neither seek the illusion of being something nor become the projection of the self onto the canvas, as it was for Abstract Expressionists Pollock and Kline. Nor is painting social protest to a man of always sunny disposition: "I like society and don't want to leave...
They certainly belong together. Choreographer Merce Cunningham believes that all movement is dance. Composer John Cage insists that all sound is music. Pop Artist Robert Rauschenberg thinks "every object is as good as every other object." But could they belong to derrière-garde London? After presenting 15 ballets in six performances at Sadler's Wells, the triarchy established itself as the most explosive event in British ballet since Martha Graham's London debut in 1954. At week's end the company had proved such a surprise smash that it transferred to another theater...
...FAKE DADAIST ROBERT RAUSCHENBERG CROWNED IN TITIAN'S HOMELAND. Le Figaro held its nose at THE GREAT POP ART MANEUVER; AN ATMOSPHERE OF THE APOCALYPSE...