- Gebundene Ausgabe: 324 Seiten
- Verlag: Steidl Verlag; Auflage: 1., Aufl. (6. März 2006)
- Sprache: Englisch
- ISBN-10: 3865211453
- ISBN-13: 978-3865211453
- Größe und/oder Gewicht: 32,1 x 24,6 x 3,8 cm
- Amazon Bestseller-Rang: Nr. 578.498 in Englische Bücher (Siehe Top 100 in Englische Bücher)
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Synopsis
Robert Rauschenberg's "Combines" focuses on the Combines created roughly between 1954 and 1964, the most important decade in the artist's 50-year career. The most complete survey of these works ever mounted, the exhibition will feature close to eighty key works drawn from major collections. Poetic and lush, The Combines present layers of complex and sometimes conflicting information. This prescient approach has become increasingly relevant in the current age of cascading information, when even the most groundbreaking artists are referencing and sampling disparate elements to create new forms. The Combines suggest the fragility of definitions, the fluidity of materials, and the complexity of forms that is characteristic of Rauschenberg's works. The artist's handling of materials provides a precise physical evolutionary link between the painterliness of "Abstract Expressionism" and the iconographical, subject-driven qualities of early Pop Art. This publication constitutes the most complete survey of the combines ever presented, as well as the most rigorous analysis of their political, social, autobiographical, and aesthetic significance.An introductory essay by exhibition curator, Paul Schimmel titled "Reading Rauschenberg" offers an iconographic analysis of the earlier Combines (1955 - 59) based on in-depth conversations with the artist. Thomas Crow's essay addresses the Combines as the major artistic statement of their time, the one body of art that could simultaneously hold its own with the leading art of older peers like de Kooning and prevail against the coming wave of pop painting centered on the reproductive image. Branden Joseph's text deals with some of the lesser known Combines and reconsiders their original critical reception through the contemporary critical filter of the simulacrum. Charles F. Stuckey traces the lineage of the Combines through early twentieth-century movements, including Surrealism and Dada. And Jean-Paul Ameline looks at the impact of the Combines on European art. The book will also feature an afterword by Pontus Hulten.
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16 von 18 Kunden fanden die folgende Rezension hilfreich
daringly junky, breathtaking, beautiful
9. Februar 2006
Format:Gebundene Ausgabe
This book is a catalogue for current exhibit at the Metropolitan Museum of Art, New York, and then the Museum of Contemporary Art, LA, and in Europe at the Pompidou Center, Paris and the Moderna Museet, Stockholm.
As installed at the Metropolitan Museum of art, the show is stunning. It's astonishing that this exhibit is the first time these works from the 1950's have been shown together. These "combines" -- art somewhere between painting, collage, and sculpture -- are a foundation of modern art, so much so that art of the second half of the century is hardly conceivable without them. This makes looking at the work afresh more difficult than usual, since seeing these pieces together in 2006 means also viewing through a legacy and school of influence.
But what phenomenal pieces they are! You can see Rauschenberg gobbling down visual techniques whole - collage, assemblage, juxtaposing printed images, materials, sculpture. They are daringly junky and breathtakingly beautiful. I have know idea whether you'd call this conceptual art, or the most luscious, messy opposite of conceptual art you've ever seen. The works are fearlessness. Really inspiring.
The catalogue has excellent reproductions, and the photography is quite good at conveying the depth of the pieces - some of the works are presented from several angles so the more sculptural pieces are well conveyed.
As installed at the Metropolitan Museum of art, the show is stunning. It's astonishing that this exhibit is the first time these works from the 1950's have been shown together. These "combines" -- art somewhere between painting, collage, and sculpture -- are a foundation of modern art, so much so that art of the second half of the century is hardly conceivable without them. This makes looking at the work afresh more difficult than usual, since seeing these pieces together in 2006 means also viewing through a legacy and school of influence.
But what phenomenal pieces they are! You can see Rauschenberg gobbling down visual techniques whole - collage, assemblage, juxtaposing printed images, materials, sculpture. They are daringly junky and breathtakingly beautiful. I have know idea whether you'd call this conceptual art, or the most luscious, messy opposite of conceptual art you've ever seen. The works are fearlessness. Really inspiring.
The catalogue has excellent reproductions, and the photography is quite good at conveying the depth of the pieces - some of the works are presented from several angles so the more sculptural pieces are well conveyed.
10 von 11 Kunden fanden die folgende Rezension hilfreich
A Richly Rewarding Survey of the Gifts of Robert Rauschenberg
6. Februar 2006
Format:Gebundene Ausgabe
ROBERT RAUSCHENBERG: COMBIINES is the name of an exhibition currently on display and one garnering some of the warmest acceptance by both critics and public alike of any retrospective survey in years. Not that Rauschenberg is a 'discovery' unearthed by this generous volume: there have been many excellent monographs and catalogues printed about this extraordinarily gifted artist who for the past half century has been creating art from found and constructed objects.
Rauschenberg's art has always had secondary messages - political, anti-war, ethnic, sexual, and ecological statements - housed in the fascinatingly complex assemblages that are part of the collections of the major museums around the world. This fine book limits its survey to the prescient years 1954 to 1964, that period during which Rauschenberg became well known and highly respected for his art and beliefs. Curator Paul Schimmel writes a fine essay about this period and accompanies his own perceptions with those garnered from a very informative shared conversation with Rauschenberg himself. Likewise Thomas Crow writes an immensely readable chapter on just how Rauschenberg came in this realm of artistic expression and from Crow's writing we learn much about the mid-century changes in American art.
The reproductions of the art works are excellent and if there aren't as many images as one would wish, it is because of the self-imposed limited time frame in Rauschenberg's career of the exhibition. A fine volume, highly recommended for all art history majors and for those under the spell of this great artist. Grady Harp, February 06
Rauschenberg's art has always had secondary messages - political, anti-war, ethnic, sexual, and ecological statements - housed in the fascinatingly complex assemblages that are part of the collections of the major museums around the world. This fine book limits its survey to the prescient years 1954 to 1964, that period during which Rauschenberg became well known and highly respected for his art and beliefs. Curator Paul Schimmel writes a fine essay about this period and accompanies his own perceptions with those garnered from a very informative shared conversation with Rauschenberg himself. Likewise Thomas Crow writes an immensely readable chapter on just how Rauschenberg came in this realm of artistic expression and from Crow's writing we learn much about the mid-century changes in American art.
The reproductions of the art works are excellent and if there aren't as many images as one would wish, it is because of the self-imposed limited time frame in Rauschenberg's career of the exhibition. A fine volume, highly recommended for all art history majors and for those under the spell of this great artist. Grady Harp, February 06
1 von 1 Kunden fanden die folgende Rezension hilfreich
Must have for fans
3. Oktober 2007
Format:Gebundene Ausgabe
Living in a place where its rare to see an original Rauschenberg combine, this book has standout photgraphs of the works, with detailed views to complement the full image- the first two essays also provide some keen insights into the processes and influences on Rauschenberg's life and work. Definitely recommend for artists
or interested art followers. These works constitute what I think were the finest in his career.
or interested art followers. These works constitute what I think were the finest in his career.
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