Word: rauschenberg
(lookup in dictionary)
(lookup stats)
Dates: all
Sort By: most recent first
(reverse)
...Senior Writer Robert Hughes does not agree. "The point is to learn more than you knew before," he says, "and I've never met an artist who didn't shed some light on his or her own work." So, in preparing for his appraisal of Artist Robert Rauschenberg-who is not only the subject but also the designer of this week's cover, a collage commissioned by TIME-Hughes spent a week in Captiva, Fla., as a member of Rauschenberg's household. He later accompanied the artist to Washington, D.C., for the installation at the Smithsonian...
...Rauschenberg is immensely outgoing," says Hughes, "just as his art is. His mind works in angular ways, full of ricochets and inventions." Hughes quickly discovered that structured interviews were not the best way to explore Rauschenberg's multifaceted personality and past. The artist supplied his own approach. He took out catalogues containing his extensive collections of art memorabilia and souvenirs; as he turned the pages, he talked. "The art of the '70s," Hughes notes, "is eclectic: video, earthworks, landscape and straight painting are all part of it. Rauschenberg has done an extraordinary number of things with his life...
Inside it, a symbolically charged event is the retrospective of some 160 works by Robert Rauschenberg, which opened last month at the National Collection of Fine Arts at the Smithsonian Institution in Washington, D.C. (and will travel throughout 1977 to New York's Museum of Modern Art and to museums in San Francisco, Buffalo and Chicago). With his anarchic sweetness and prodigal talent, Rauschenberg, now 51, has for the best part of 25 years been the enfant terrible of American modernism: a permanent scalawag, handing out indulgences to all comers. He is a model...
...Rauschenberg is best known for having opened up the tracts of imagery that were occupied in the '60s by Pop art. But as one goes through the show, skillfully boiled down by the Smithsonian's curator of 20th century painting, Walter Hopps, from Rauschenberg's enormous and dispersed output of combines, paintings, silk screens, sculptures and prints, it becomes plain that there has not been much antiformalist American art that Rauschenberg's prancing, careless and fecund talent did not either hint at or directly provoke. It is to him that is owed much of the basic cultural assumption that...
...shallow coastal water, slicked with weed, taking the light like satin; and the pale sky, colored the rinsed blue of a Tiepolo ceiling. A pelican lumbers by, just airborne, printing its ragged prehistoric silhouette on the fabric of the scene. Once again, as for the past two decades, Rauschenberg's art drains back into its source, the world...