Word: rauschenbergs
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...trash can. "A protean genius," Art Historian Robert Rosenblum calls him. "Every artist after 1960 who challenged the restrictions of painting and sculpture and believed that all of life was open to art is indebted to Rauschenberg ? forever...
There are, of course, dissenting views. In the '60s, Rauschenberg was loathed in formalist quarters and suspected in others. His taste was always facile and omnivorous, a fact somewhat masked by Hopps' careful choice of works in the show. But mainly, it was the man's variety and good humor that jarred. He did not give a fig for the lines of high seriousness imposed by the hardcore New York art world. His reputation would look after itself; he would not tend it. Besides, Rauschenberg was a natural dissipater. The sight of him in his porcupine-quill leather jacket, erect...
...Thus Rauschenberg did not always get the credit he deserved?not even for his altruism, which was without recent parallel in New York art circles. It was Rauschenberg who threw his reputation, and much of his time, behind the Artists' Rights movement and its steadily strengthening lobby for artists' royalties on the resale of paintings. It was Rauschenberg who, knowing the ponderousness with which foundations disgorge grants, set up and largely endowed Change, Inc.?a fund from which artists with urgent cash trouble could get small sustaining grants within a matter of days. He could afford to help...
...Milton Rauschenberg (he changed his name to Robert as a young man) was born on Oct. 22, 1925, in Port Arthur, Texas, a shabby, humid oil-refinery town on the Gulf of Mexico. His father, Ernest Rauschenberg, was the son of an immigrant doctor from Berlin who had drifted to southern Texas and married a Cherokee. Port Arthur was no cultural center. Its symphony orchestra was the jukebox, the comics its museum. The nearest thing to art one could see was the cheap chromo-litho holy cards pinned up in the Rauschenberg living room (the whole family was devoutly active...
Whenever he got a pass that gave him a few days off from the cuckoo's nest, Rauschenberg would simply head for the nearest highway and start thumbing rides to anywhere. On one of these time-killing trips, Rauschenberg heard about the cactus garden at the Huntington Library in San Marino. He went there ?and found that the library had paintings in it, the first "real" paintings he had ever seen: Sir Joshua Reynolds' Portrait of Mrs. Siddons as the Tragic Muse and Thomas Gainsborough's The Blue Boy. These suave, bright ghosts of Georgian culture stupefied Rauschenberg...