Word: rauschenberg
(lookup in dictionary)
(lookup stats)
Dates: all
Sort By: most recent first
(reverse)
...there a duller or more formula-ridden artist in America than Salle in 1991, as he approaches the Big Four-Oh? His work, essentially, is a decoction from three other artists. From Robert Rauschenberg's combines of the '50s and his silk-screen "collages" of the early '60s, Salle learned about piling unrelated images onto a canvas, the difference being that Salle hasn't a trace of the lyrical sharpness and poetic force of vintage Rauschenberg. His tone is a supercilious droning, very far from Rauschenberg's enthused, life-enhancing Barbaric Yawp...
Some 56% of the art in the Sotheby's auction failed to find a buyer, despite the house's pre-sale efforts to get sellers to lower their reserves. The "star" offering, Robert Rauschenberg's Third Time Painting, 1961, sold for $3.08 million after its low estimate had been reduced by $1 million on the eve of the sale, to a range of $3 million to $4 million...
...pictures except a Sean Scully, a Brice Marden, two Dubuffets and the Rauschenberg reached or exceeded their low estimates, and most were well below them. A Rothko work estimated at $1.8 million to $2.2 million was unsold at $1.25 million. Nothing by Andy Warhol sold that night. Younger artists whose star had risen in the '80s did no better. An Eric Fischl, Northern Girl, estimated at $450,000 to $600,000, went begging...
...cigarettes. The work does not appear in the show. There are shallow passages: the bay devoted to Russian Constructivism, Futurism and the Bauhaus, for instance, is mingy. Yet many excellent works of art proliferate, from Cubist collages to exquisite, large-scale paintings by Cy Twombly and some of Robert Rauschenberg's early combines, like Rebus, 1955; from James Rosenquist's room- size F-111, 1964-65, and a reassembly of some of the passionate, gaudy fragments from Claes Oldenburg's Store of 1961-62 to Brancusi's phallic bronze, Princess X, 1916, and one of the greatest of all Legers...
...centerpiece of the Biennale is the U.S. pavilion with its show of Jasper Johns' work since 1974, organized by the Philadelphia Museum of Art and treated to a piercing catalog exegesis by its curator Mark Rosenthal. , Johns' presence at the Biennale seems to close the American parenthesis that Rauschenberg opened there 24 years ago, and one leaves it convinced he is the deepest of living American artists, a painter whose subtlety and richness of imagination stand beyond doubt even when, as sometimes happens, one cannot find a direct way among the hints, inversions, repetitions and false scents in which...