Word: rauschenberg
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Dates: during 1970-1979
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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...
...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...
...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...