Word: rauschenberg
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Dates: during 1960-1969
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Aggressive Medium. For nearly a decade, or since Robert Rauschenberg hung a tire on a stuffed goat and Andy Warhol began painting the soup can, artists have labored to create simple, obvious public art. They used colors that screamed; painting was likely to have hard-edged forms; sculpture was geometric, intended as focal points in plazas. Today the trend is in the opposite direction: artists are deliberately going underground. Even though they may use people as part of their sculptures-as does Byars-their purposes remain arcane and enigmatic...
...total abstractions, on the argument that only objects professing to be nothing but themselves are truly "real." The older, more obvious and far more common interpretation, of course, is that reality in art is achieved by copying "real life." Stirred by Andy Warhol, Roy Lichtenstein and Robert Rauschenberg, a mini-renaissance of this older school is taking place...
...neck of painting," Miró in the early '30s embarked on the production of oddly haunting "poetic objects," which were meant to suggest the improbable juxtaposition of objects that occurs in dreams. Many of his sculptures remind observers of the combines produced by Jasper Johns and Robert Rauschenberg in the 1950s...
...Cross. The zaniest segment of the show is reserved for the palace known as Schone Aussicht. Its entry hall is a jungle of huge works that illustrate the razzmatazz marriage of fantasy and technology. Peter Briining's 19-ft.-wide tangle of highways flashes with lights. Robert Rauschenberg's environment is a booth with eight panels, controlled by photoelectric cells so that they open and close for the gallerygoer. For some time now, he has been tinkering with art that moves in response to the viewer...
...Italian artists whom they dislike. Foreigners gripe about the oversize Italian pavilion and the reams of red tape. In the 1950s, when the Grand Prix was awarded to established artists, the avant-garde snarled about outdated academism. In the 1960s, when the prizes went to raffish radicals like Robert Rauschenberg and Julio Le Pare, the rear guard sneered that Venice was falling prey to fashion and backstage conspiracies...