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...neck of painting," Miró in the early '30s embarked on the production of oddly haunting "poetic objects," which were meant to suggest the improbable juxtaposition of objects that occurs in dreams. Many of his sculptures remind observers of the combines produced by Jasper Johns and Robert Rauschenberg in the 1950s...

Author: /time Magazine | Title: Painting: Father for Today | 7/26/1968 | See Source »

...Cross. The zaniest segment of the show is reserved for the palace known as Schone Aussicht. Its entry hall is a jungle of huge works that illustrate the razzmatazz marriage of fantasy and technology. Peter Briining's 19-ft.-wide tangle of highways flashes with lights. Robert Rauschenberg's environment is a booth with eight panels, controlled by photoelectric cells so that they open and close for the gallerygoer. For some time now, he has been tinkering with art that moves in response to the viewer...

Author: /time Magazine | Title: Exhibitions: Signals of Tomorrow | 7/12/1968 | See Source »

...Italian artists whom they dislike. Foreigners gripe about the oversize Italian pavilion and the reams of red tape. In the 1950s, when the Grand Prix was awarded to established artists, the avant-garde snarled about outdated academism. In the 1960s, when the prizes went to raffish radicals like Robert Rauschenberg and Julio Le Pare, the rear guard sneered that Venice was falling prey to fashion and backstage conspiracies...

Author: /time Magazine | Title: Exhibitions: Violence Kills Culture | 6/28/1968 | See Source »

During a recent reading in the Manhattan studio of Pop Artist Robert Rauschenberg, their poems competed with the sound of a speeding locomotive, hissing helium, the splat of a punctured balloon, random clickety-clacks and the unprogrammed clucks of three caged chickens who presumably work for Rauschenberg. And during a performance of Michael Benedikt's poems from his collection The Body, there was the sound of oscillating necks as the audience tried to keep up with the nudie films that were projected on opposing walls. But to savor Benedikt's laconic wit, the peace and quiet...

Author: /time Magazine | Title: Books: Freer Verse | 6/14/1968 | See Source »

Cunningham's dance does demand a prepared or prewarned audience. Like the abstract artists who design his sets and costumes--Frank Stella, Warhol, and Rauschenberg--and the electronic musicians composing his scores--John Cage, David Tudor, and Earl Brown (husband of Carolyn Brown)--Cunningham explicitly denies traditional unities of the dance...

Author: By Maeve Kinkead, | Title: Merce Cunningham & Dance Company | 5/29/1968 | See Source »

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