Word: rauschenberg
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...Kooning, the "slipping glimpser," as he called himself, was open to a constant stream of momentary impressions: smiles from Camel ads, shoulders from Ingres, pinups and Raphael--high and low, everywhere. In this way he became a bridge to a younger generation of painters, chiefly Jasper Johns and Robert Rauschenberg, who carried forward his exploration of the American vernacular...
...with America in a way few avant-garde painters had. He loved the lushness, the grittiness, the obtrusive weirdness of American cultural vernaculars. Though by the end of the '50s, laden with celebrity, he had become the man for younger artists to beat, it is impossible to imagine Robert Rauschenberg, Jasper Johns and some of the younger Pop artists developing their visions except in response to his, or to disentangle their revolt against his gestural, richly inflected touch from their homage...
...Elton John. None of these worthies were showing completed films; they were on hand simply to bring luster to a festival where voyeurism is a vocation. Gawkers in evening dress could watch La Liz at a lavish dinner to benefit AIDS research, where she auctioned off a Robert Rauschenberg painting with a marine motif. "How about $300,000 for this fish?" she asked...
...assembly of junk into metaphoric objects has an ancestry that goes back to Surrealism and German Dada. Joseph Cornell in the 1940s was the first American to base a whole oeuvre on it; Robert Rauschenberg in the '50s picked up on him; and Kienholz in the '60s on Rauschenberg. But whereas Cornell was butterfly gentle and Rauschenberg effusively open, Kienholz was a raging satirist attached to the view from over the top. Show him any kind of Establishment, and he loathed it. Almost from the start his work was about social pain, madness, estrangement. He hated all cant, including...
Since Picasso's Guernica, few artists had attempted historical commentary. Robert Rauschenberg did in his silkscreen paintings of the early '60s, and so did James Rosenquist with big quasi-dioramas like The F-111, his reflection on the Vietnam War. Kitaj differs from both, for he wanted to paint his images all the way through, not transfer them out of mass media. It's odd that in the midst of all the talk about "appropriation" that went on through the '80s and into the '90s, Kitaj's name so seldom came up in New York: for this is a painter...