Word: rauschenbergs
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...just verbal, but visual art-forms stress the unseen. Recently a smudged piece of paper entitled "Drawing by DeKooning erased by Rauschenberg with the artist's permission" sold as a work of art. When idea triumphs over image in this way, the art evades sensory comprehension; we can't reach it through sight, taste, smell, sound or even touch; the only way it can be grasped is with the intellect. The question that should be asked last gets asked first: "What's it all about...
...When Hitler closed the Bauhaus in 1933, Albers came to the U.S., where he meticulously painted geometric patterns, notably squares within squares, and taught his students to see the ways colors interact. "His criticism was so devastating that I wouldn't ask for it," says Pop Painter Robert Rauschenberg, a former student. "But 21 years later, I'm still learning what he taught...
John Cage, painters Robert Rauschenberg and Jasper Johns, and others pay special homage to Cunningham, attempting to understand him as a teacher, performer, collaborator and creator. They know in their bones--though Klosty is the only one so bold as to say so--that the gathering of artists, musicians and dancers around Cunningham in the fifties was as significant a group in the history of the arts as was Bloomsbury or Gertrude Stein's "charmed circle." After the second World War, the arts in New York took on a vitality and strength which Cunningham and his followers helped to create...
Taken one by one, the remaining essays seem rather thin. Only Brown's essay can fill in their background. Robert Rauschenberg contributes a few clipped comments, refusing to let his years as Cunningham's manager and designer "be short-changed by memory or two-dimensional facts." His words seem flip until Brown's narrative tells how exciting was his time with the company and how sad and little-discussed his leaving. Similarly, former manager Lewis Lloyd's hard-headed opinions on how to run a company sound less obstreperous after Brown details Cunningham's peculiar brand of leadership...
...would have it, cynicism is nothing more than a failure to cope, Adams' analysis fails. The very artists whom Adams would have expected to keep the icon hanging straight, are coping--by varnishing the Dynamo with super-realism. Warhol handles mass-production by redistributing the colors of soup cans. Rauschenberg sublimates industrial waste by pasting it together, taking it up off the floor onto the walls. Steve Gildea, a photo-realist painter, places a grid on photographs, another grid on the surfaces to be painted, and then copies square by square...