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The Visual Culture of Robert Rauschenberg

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The Visual Culture of Robert Rauschenberg University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Sheldon Museum of Art Catalogues and Publications Sheldon Museum of Art 1999 The Visual Culture of Robert Rauschenberg Daniel A. Siedell Curator at Sheldon Memorial Art Gallery, University of Nebraska- Lincoln Follow this and additional works at: https://digitalcommons.unl.edu/sheldonpubs Part of the Art and Design Commons Siedell, Daniel A., "The Visual Culture of Robert Rauschenberg" (1999). Sheldon Museum of Art Catalogues and Publications. 75. https://digitalcommons.unl.edu/sheldonpubs/75 This Article is brought to you for free and open access by the Sheldon Museum of Art at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Sheldon Museum of Art Catalogues and Publications by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. SHELDON MEMORIAL ART GALLERY AND SCULPTURE GARDEN THE VISUAL CULTURE OF ROBERT RAUSCHENBERG Februarv 9 - March 21, 1999 UNIVERSITY OF NEBRASKA-LINCOLN THE VISUAL CULTURE OF ROBERT RAUSCHENBERG "Painting relates to both art and life. Neither can be made. I try to act in that gap between the two." Robert Rauschenberg, 1959 1. The importance of Robert Rauschenberg to the history and development of 20th-century American art has been firmly established for well over three decades. It is, however, the nature of his importance that remains, in large part, unresolved. The recent retrospective exhibition of the artist's work at the Solomon R. Guggenheim Museum in New York in 1997- 98 represents to date the most ambitious attempt to document comprehensively the multiple aesthetic activities of one of the most complex and diverse artists in the history of modern art. By focusing on his involvement in performances, sculpture, and unique and creative engagement with technology, in addition to an in-depth exploration of his early paintings, combines, and phototransfers, the Guggenheim retrospective painted a portrait of an artist that is quite different than the one portrayed by most formalist histories of art. These formalist narratives have defined Rauschenberg as a product of historical "influences," from Abstract Expressionism to Pop Art. Despite his work's superficial affinity with the "Action Painting" process of Abstract Expressionism and a shared interest with the Pop artists in popular imagery, the fact remains that Rauschenberg's artistic intentions and aesthetic modus operandi bore little resemblance to either movement. And, therefore, like his friend and fellow artist Jasper Johns, Rauschenberg sits firmly outside the reductionist Greenbergian narrative of the inevitable formalist "progress" of avant-garde art. And like Johns, Rauschenberg continues to produce artwork, long after the "influences" of Abstract Expressionism in the fifties and Pop Art in the sixties have faded. It is thus probable that Rauschenberg's Scrape, 1974, UNL-Gift of the National Bank of Commerce, quite broad and eclectic artistic activities from the EM. Hall Collection and the Olga N. Sheldon Acquisition Trust the late forties until the present can be UntitLed (Statue of Liberty), 1983, UNL-EM. Hall Collection interpreted, analyzed, and more fully habits and behaviors that affirms and reaffirms panels, collaged photographical images, fabric, appreciated within a broader methodological a community's identity as a community. And found objects, and pieces of furniture unified context than is usually utilized by most art as the post-Enlightenment emphasis on the by a gestural "action painting" brushwork. historical narratives, narratives which "visual" over the verbal and the aural in the Operating "in the space between art and life" assume-either explicitly or implicitly-the communication and reception of knowledge as he called it, Rauschenberg's combines move necessity of a Manet-Monet-Cezanne-Cubism­ reaches a climax in the late twentieth century, from the wall and interact with the Fau' ism-Surrealism-Abstract Expressionist a "visual culture" has played-and continues environment. As John Cage said, lineage in interpreting the meaning and to play-a decisive role in the affirmation and Perhaps after all there is no message. In that significance of postwar American art. reaffirmation of the many diverse-and case one is saved the trouble of having to reply. The difficulty of understanding competing-cultures that make up modern As the lady said, 'Well, if it isn't art, then I like Rauschenberg's artistic development and society. In this way, Rauschenberg's own it.' Some (a) were made to hang on a wall, others diverse creative activities within the limits of visual culture is derived from the various (b) to be in a room, still others (a + bj.5 this modernist aesthetic has led many critics visual cultures that have shaped our own In 1953 Rauschenberg constructed a set design and historians to conclude that Rauschenberg's identities as cultural participants in modern for the dancer / choreographer Merce art is "postmodern."l Whether or not his society. Rauschenberg's visual culture, then, Cunningham's Minutiae. From 1954 to 1964 eclecticism is sufficient grounds for his art is also ours. Rauschenberg participated in twenty being considered "postmodern, performances, including lighting, set, and Rauschenberg's aesthetic is, without question, II. costume design. In addition, both he and profoundly anti-formalist. Like those other Born in Port Arthur, Texas in 1925, Cage were members of the Merce "neo-Dada" artists he was often associated Rauschenberg enrolled at the University of Cunningham Dance Company (MCDC). with, such as Jasper Johns, John Cage, Morton Texas in 1943. After spending two years in Rauschenberg's interest in the physical Feldman, and Merce Cunningham, the U.S. military, Rauschenberg travelled to environment was with him from his early Rauschenberg's artistic activity requires a Paris on the GI Bill and studied art at the work, as even his densely painted white broader, more sophisticated conceptual model renowned Academie Julian. Later in the fall, canvases invited "audience engagement." within which to interpret his work and one Rauschenberg enrolled at Black Mountain In 1962 Rauschenberg began a black-and­ that is more faithful to the artist's own College, an experimental arts school near white silkscreen series called "Random Order," intentions. Asheville, North Carolina, where he was which was "part manifesto, part diary, part A broader methodological perspective influenced by the German modernist Josef poem," as Rosalind Krauss has called it. 6 It has been achieved, at least potentially, through Albers. The next year Rauschenberg enrolled consists of five pages in the first issue of the a developing interest in the "history of in classes at the Art Students League in New magazine Location, published in the spring of images," which offers a more inclusive York, again under the GI Bill. 1963. It marks not only Rauschenberg's shift approach to the study of visual imagery than Unlike the Abstract Expressionists, such to photography "not only as the image bank the more hierarchical history of fine art.2 This as Willem de Kooning, who had spent nearly on which his pictorial practice would then approach has focused attention not simply on twenty years in New York making art before rely... but as a new conception of the pictorial modernist avant-garde painting but on a more he was given a solo exhibition in 1948, itself." 7 This new pictorial vocabulary, which comprehensive concern for the visual imagery Rauschenberg had his first solo show at the emphasized the ephemeral and fragmented that we as cultural participants use and Betty Parsons Gallery in 1951 at twenty-six nature of imagery, replaced the object-oriented consume in order to affirm and critique social years of age and only after a few years in New assemblage character of his combines. values. This methodological approach brings York. Later that year Rauschenberg was Between 1962-64, he incorporated images from into view such visual imagery as included in the famous Ninth Street exhibition discarded photoengraved plates he salvaged photojournalism, film, television imagery, featuring the New York School artists, many from The New York Times and New York Herald cartoon illustrations, and the multitude of of whom were nearly twice his age. In the Tribune. Rauschenberg also began using his other images-high art, popular, and "kitsch"­ early fifties, Rauschenberg's work consisted own photographs as well in an attempt to that constitutes our diverse aesthetic of the so-called white, black, and red paintings circumvent any copyright problems that his environment, an environment that includes through which he sought to communicate a compositions might cause. both Richard Serra's minimalist sculpture and "silence of the visual" that could resist Warner Sallman's popular biblical illustrations. metaphoric allusions. Despite their heavily III. This approach coincides quite comfortably painted and worked over-even The Sheldon Gallery is pleased to present with Rauschenberg's own interest in collage-surface, these paintings suggest a The Visual Culture of Robert Rauschenberg, an Circumventing the cliches of traditional "high "heavy" or "muted" silence; or as Rosalind exhibition of ten works from the Gallery'S art" experiences. For instance, Rauschenberg's Krauss referred to it, a "silence of the visual."4 permanent collection that surveys the artist's early "white," "black," and "red" paintings Rauschenberg's white paintings in fact were work after his move from the combines­ of the early fifties were an attempt to strip the a major influence on John Cage's (in)famous collages to the photographic images in 1962, visual arts of their reliance on Romantic and musical composition 4'33"ofSilence. In 1953 but which reveals influences that have psychological language of "sustained Rauschenberg asked de Kooning, whom he remained from his early formative years of contemplation" and "spiritual reflection" often greatly admired and respected, to give him a the late forties and early fifties. The only work used to articulate the profound experience of drawing for him to erase.
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