Word: rauschenbergs
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...Rauschenberg's role as provocateur could only work within a relatively innocent art world, which New York had in the '50s-innocent not only about modern art, but to some degree about its history. It took more than a decade before the relationship of his big combines to Kurt Schwitters' tiny Merz pictures and to the formality of cubist collage could be talked about without heat and seen, not as proof of derivativeness, but as simply part of his work's ecology. Besides, the '50s were the last time a public could be provoked...
...their work (TIME ESSAY, March 11) and Change, Inc., a foundation through which established artists can give emergency money to unrecognized ones by donating works of art to a pool. In the desiccated, clique-ridden and ungenerous atmosphere of the New York art world in the '70s, Rauschenberg has turned out to be one of the few senior artists with real respect and concern for his juniors...
...during this time - ten years -there was a slow gathering of opinion that Rauschenberg's art was on the decline. Like Willem de Kooning, he be came one of those major figures whose last show is always fated to be thought his worst. The reason was that no later performance could ever measure up to the exaggerations of praise cast on their early work. Meantime, Rauschenberg, mainly through his collaborations with the Los Angeles printmaking firm of Gemini G.E.L., had developed into one of the few major graphic artists in Amer ica. The print suited his liking for swift...
Taffeta Phantom. They are out of the familiar Rauschenberg image bank again, part random and part (one suspects) autobiographical: newspaper fragments, comic cutouts, a Cessna, a balloon, an octopus, buckets, a hand gripping a squeegee, an ostrich...
...reproduction can convey the subtleties of light and opacity Rauschenberg's method gives. The mix of forms is pale, apparitional and exquisite. This seems a long way from the declamatory harshness of his old combine paintings, but in fact, it pertains to a continuous theme of Rauschenberg's: ghost images, traces. The white paintings were made white to accept passing shadows. The De Kooning drawing was not erased to blank: a phantom of it stays on the paper. Rauschenberg's illustrations to Dante's Infer no (1960) were pale transfers from newsprint. But the Hoarfrost prints...