Word: rauschenbergs
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...appendage to the earlier. If he accepts this role, it grips him, and he turns into a vulgar monster-something like Salvador Dali. If he fights it and reflects the blame for it on the audience (where it belongs), he may, with luck, come to resemble Robert Rauschenberg, whose latest prints-after a run at the Castelli Gallery in New York City-are on view at Gemini G.E.L. in Los Angeles...
Iniquitous Goat. Rauschenberg turns 50 this year. It is almost a quarter-century since he popped into American art with an eccentric, prankish and-in retrospect -prophetic show of pictures, some painted all white, others all black, at the Betty Parsons Gallery in Manhattan. This ironic burst of premature minimalism was only the first in a series of gestures that, throughout the '50s, persistently harassed and delighted art's public in New York. They were all conducted under Rauschenberg's slogan, derived from futurism and Dada, about "working in the gap between art and life...
...Canadian-born Dorothea Rockburne, Holland's Jan Dibbets and New York's Brice Marden. Rockburne's art is neither painting nor collage nor relief, but it has some of the qualities of all three-coupled with the kind of inventive intelligence one expects from one of Rauschenberg's contemporaries at the legendary, now defunct Black Mountain College. Starting with a rectangle of linen exactly 68 in. by 178 in., she folds, sizes and gessoes it until it becomes a geometrical plaque. "I had wanted," she writes, "to approach painting in a way that takes as given...
...right? By 1965 pop had become the most popular movement in American art history, drenched in ballyhoo, gratefully supported by legions of collectors whose appetites bore the same relation to connoisseurship that TV dinners do to poulet en demi-deuil. Warhol, Lichtenstein, Indiana, Rosenquist, Wesselmann, Oldenburg, Johns and Rauschenberg became instant household names, not counting their swarm of epigones. "What we have with the pop artists," wrote the English critic Lawrence Alloway, "is a situation in which success has been combined with misunderstanding." He had coined the term pop art, in England in 1957, "to refer approvingly to the product...
Johns and Rauschenberg, then, and Oldenburg, and some Warhol, a good deal of Lichtenstein and a few pieces by Rosenquist and (surprisingly enough, in view of his calamitous recent work) by Jim Dine: such are the survivors. The losers are more numerous...