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...Robert Rauschenberg is utterly open-minded in defining art. He has painted completely black pictures and completely white ones. Once he tried making pictures out of dirt packed in boxes; when grass sprang up, he was delighted. Wheedling a drawing out of Willem de Kooning, the dean of abstract expressionists, he laboriously erased it, and then boldly displayed it under the label Erased De Kooning Drawing, Robert Rauschenberg...

Author: /time Magazine | Title: Painting: Most Happy Fella | 9/18/1964 | See Source »

They certainly belong together. Choreographer Merce Cunningham believes that all movement is dance. Composer John Cage insists that all sound is music. Pop Artist Robert Rauschenberg thinks "every object is as good as every other object." But could they belong to derrière-garde London? After presenting 15 ballets in six performances at Sadler's Wells, the triarchy established itself as the most explosive event in British ballet since Martha Graham's London debut in 1954. At week's end the company had proved such a surprise smash that it transferred to another theater...

Author: /time Magazine | Title: Dance: Pop Ballet | 8/14/1964 | See Source »

...FAKE DADAIST ROBERT RAUSCHENBERG CROWNED IN TITIAN'S HOMELAND. Le Figaro held its nose at THE GREAT POP ART MANEUVER; AN ATMOSPHERE OF THE APOCALYPSE...

Author: /time Magazine | Title: The Market: Goodbye Paris, Hello New York | 7/17/1964 | See Source »

Melting Typewriter. The canonization of pop art had been rumored for weeks, and Pop Art Dealer Leo Castelli had campaigned assiduously for the winner. Nevertheless, the European critics fumed. Paris' Combat said the prize to Rauschenberg was "an offense to the dignity of artistic creation." Rome's pro-Communist Paese Sera called it "a grotesque Biennale," and the Vatican's L'Osservatore Romano editorialized on "the total and general defeat of culture...

Author: /time Magazine | Title: Exhibitions: Pop Goes the Biennale | 7/3/1964 | See Source »

...Lido beach, declared the marble-patterned Piazza San Marco to be the "world's greatest hopscotch arena" and hopscotched around it like a great shambling bear. Claes Oldenburg, as softly pudgy as his sculptures of melting typewriters made of vinyl plastic, politely ate his way through the festival. Rauschenberg himself was busy at Venice's elegant Teatro La Fenice, working with Merce Cunningham's avant-garde ballet troupe, for which he designs props and occasionally does choreography. Since his suitcase had gone astray between Paris and Venice, he was using a safety pin to hold...

Author: /time Magazine | Title: Exhibitions: Pop Goes the Biennale | 7/3/1964 | See Source »

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