Word: rauschenbergs
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Dates: during 1980-1989
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...Biennale, which began in 1895, is the oldest living, official new-art event. Through the '50s, it acquired an inimitable prestige, and its prizes were held to be enormously important in the marketing of an artist: nothing could have given Robert Rauschenberg's career a faster boost than winning the Gran Premio in 1964. This changed in the wake of '68, when art-student radicals occupied the Accademia di Belli Arti, in protest against the commodification of culture (how many of them, one wonders, are art dealers today?). In panic, the Biennale decided in 1972 to jettison the prize system...
...centerpiece of the Biennale is the U.S. pavilion with its show of Jasper Johns' work since 1974, organized by the Philadelphia Museum of Art and treated to a piercing catalog exegesis by its curator Mark Rosenthal. , Johns' presence at the Biennale seems to close the American parenthesis that Rauschenberg opened there 24 years ago, and one leaves it convinced he is the deepest of living American artists, a painter whose subtlety and richness of imagination stand beyond doubt even when, as sometimes happens, one cannot find a direct way among the hints, inversions, repetitions and false scents in which...
...cannot, or will not, see its inherent strangeness. Mach is not just a fine-art version of the reclusive hobbyist who makes Eiffel Towers or Brooklyn Bridges from a million spent matches. He wants to turn surplus against itself -- not in the friendly way of Kurt Schwitters or Robert Rauschenberg but with real bloody-mindedness. A Million Miles Away posits a world in which things are carried along, bobbing like corks, on a gross, value-free cataract of media imagery. The waves of magazines undulate with a glutinous, twining rhythm, and their movement seems irresistible: they are going to take...
There have been several dance autobiographies recently, many of them extolling or punishing George Balanchine along the way, but none is as intelligent or funny or shrewd as this one. Taylor's insights on fellow artists -- Graham, Balanchine, Robert Rauschenberg -- are unusually trenchant and fresh. The book is blessedly free of the cleaned-up quality that such memoirs often have, which inevitably makes the childhood chapters the only interesting, trustworthy ones. Talk about warts and all! For readers who want to hear about pressures and strains on the professional dancer -- the drugs, the drink, the penury -- they are all here...
Cover: Collage by Robert Rauschenberg...