From Collage to Combine: Rauschenberg and Visual Culture Author(s): Charles Molesworth Source: Salmagundi, No. 118/119 (Spring-Summer 1998), pp. 29-39 Published by: Skidmore College Stable URL: http://www.jstor.org/stable/40549294 . Accessed: 14/09/2013 10:23 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp
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is theextent oo thorough oftheart
worldcelebration of RobertRauschenberg, and all its attendant media thata seriousintellectualaccountingof his cultural industriousness, hasbecomebothdifficult andnecessary. Suchan accounting importance us to our of if for even he is notunquestionreadjust way seeing, requires what some would claim the of Picasso is an ably equal Rauschenberg artistalreadyoperating haze. (and beingcelebrated)in a pre-canonical This haze multipliestheforceof his presence,so thatwe can see his inhundreds ofartists fromSohotoLos Angeles,andina handful influence ofmedia,eventothepointwherewecouldreadilyforgive anyonewhosaw nofurther backthanhiscombinesandtherefore hadnoreasontoacknowlwatershedof Duchampand his readymades. edge the "post-retinal" or at least thelargebodyofhiswork,facesa dilemma:his Rauschenberg, tooeasyto lookat,andtherefore hardto see. arthas becomerather tomembers oftheGuggenheim, I Ata recentshowingrestricted aloneonthetopoftheramp,whiledownbelowhundreds of foundmyself hadrushedintobuythecatalogfrom themuseumshopand othermembers I ofbooks ittotheartist forhissignature.don'tknowthenumber present thatevening, butI estimate itwasseveraltimesas inscribed Rauschenberg
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numerous as the plentifulsupply of paintings,lithographs,sculptures, photographs,and othermixed-mediaobjects thatgraced the walls and galleriesofthemuseumtothepointofa rapturousand indulgentoverflowing.He seemed,inmyfewquick glimpsesofhim,tobe remarkablyatease, relaxed in a sort of demotic coronation. Some wag suggested it was especially good and timelyto be thesubjectof a retrospectivenow thatno Picasso show was currently drawingNew York crowds,and now thatde had and Johnshad earlierbeen likewise celebrated Kooning passed away MOMA. The the by day perhaps year- belongedtothisProteusfromPort Arthur,Texas, who had strucksome chord in the early 1950' s at Black Mountain College in NorthCarolina, and had lived to hear it resound throughoutthe global village and in a myriadof registers.His signature tohis patronymic:a lotof fathers was bold,regular,angular,and restricted are dead, long live the father. In addition to the ramp at the Guggenheim,Rauschenberg's was output poured into the spaces at the same museum's downtown branch,as well as atleastthreeotherNew York galleries.The Guggenheim Soho, as thedowntownbranchis called, concentratedon Rauschenberg's "theater"pieces and otherharder-to-classify efforts.Here Rauschenberg triumphedin decreatingthe objecthood of the art work and, as Michael Friedarguedyearsago in a prescientbutmuch-attackedessay, broughtthe various artsintoan unboundedstateof medleythatresemblednothingso much as theater,butdidn't reallyresemblethatin any clear headed way. There was in Fried's piece the implicitsuggestionthatthe criticagreed with Aristotlewhen he said of drama thatthe least of its aspects was spectacle. The image of Rauschenbergroller skatingwith a parachute strappedtohis back is perhapsas oftenreproducedas anyothersingleicon of the avant-gardetraditionin postwar American art. If you wanted to disqualifyyourselfas a knowingreaderof Rauschenberg's "meanings" (and thoseofthepostmodernismthathe is creditedwithhelpingto found), thenyou can startby seeingin thisimage nothingbutan existentialistagon in which the artiststrugglesto transcendhis bodily limitswhile gliding across the surfaces of modern life with tenacityand a blissful lack of of Rauschenbergpoint in a different direction.But most interpretations direction.
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of theautograph-seeking audiencein the Onlya smallfraction bothered to attend the New York that evening uptownGuggenheim madeby Billy Klüver,who has premierof a filmaboutRauschenberg collaboratedwiththe artistin a numberof efforts, especiallythose film a number The records associatedwiththeArtandTechnology group. that did so much to cement s oftheevanescent Rauschenberg' "Happenings" Indeed,theycan be read as community. standingin the avant-garde if thetennisgamein "Nine one takes communalcelebrations, especially As the two as the playersstriketheball, soundis template. Evenings" fromsmalldevicesin thehandlesoftheracquets, andemitted generated andwitheachsounda lightinthelargecoveredspacegoesout;as thegame - fivehundred descends.Butthenthespectators proceeds,totaldarkness and cued to a random invited ofthem, perform byRauschenberg especially movementarefilmedinthedarkbymeans sequenceof uncontextualized on large are thenable to watchthemselves and of infrared equipment, of a Renaissancecourt screenssuspendedabove thecrowd.I thought figures joiningthe masque,wherethepiece endswiththemythological in an allegoryof artmerging withlife. audiencemembers involvesrecallingart-hisfrequently LookingatRauschenberg his work is so variegatedin its but then and themes torical motifs, mediaand visualvocabulariesthatit and use of different appropriation oftenseemsto be abouttheveryproblemof recalling.RosalindKrauss andprints someyearsbackthatthepicture planeinthepaintings suggested and as a memoryfield,wherepersonalintuitions was bestinterpreted onequalterms. collectivememories Maybethebest jostledwitheachother a collocationofdisplacedand is thatofthecabinetofcuriosities, metaphor at is unified (if all) onlybythefactthateach image replacedobjectsthat inbinding Use ofcolorandpigment hasnotyetbeencompletely forgotten. line ofLeonardo'ssfumato, is reminiscent thisfieldofmemory removing combinedwiththetextures andsharpshadow.Inthefaceofsuchremoval, ofcrushedcan,sheetsofprinted fabrics, tin,andcoarseandrumpled depth without comestobe registered anysymbolizonlyphenomenologically, ingorpersonalexpressiveness. features is well-known. The negativereactionto suchstylistic the mind-set of art that the post-modern expresses Rauschenberg produces socialexperience:highlevelsofalertconsciousnesswithverylittlereal
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becomesan and distinction attentiveness. Clamoringagainsthierarchy an almost of the celebration while unnoticedback beat, narcotizing likelyricexpressiveagainstanything mitigates acceptanceofrepetition ness: "readymade" describesnotonlythedesacralizedobjectbutthe artstilldemands ofit.Butreadingcontemporary ofourexperience nature ofoursocial a reflective thatwe see itas notonlyconcretizing symptom cure.To grant of a homeopathic uneasebutholdingoutthepossibility an act ofprivileging, of sort work this s space interpretive Rauschenberg' in ourselves to involve afterall is not necessarily lookingfor his outindetail(as somehavealreadybeguntodo) orworking masterpiece, or measuringhim againstsuch the minutestepsin his development, and as Schwitters forebears Duchamp,or even to claim forhim an But we are nevertheless highlevelof formalinventiveness. impossibly or moreof artists stuckwithour viewinghabits,even aftera century howithasalready show us or to culturevisual the redefine to struggling othermediawhile and a host of beenredefined television, byphotography, theRauschenberg wewerebarelylooking.Onecaneasilycomeawayfrom witha feelingofwoemixedwithplayfultriumph (onethinks fest,I think, to has He and ofhisgoodfriends sought conquerthe Cunningham). Cage while and mechanistic toitsaleatory visualculture features, bysubmitting tofindinitsomeroomfortheindividual. stillpresuming (orpretending?) is a blackandwhite OneoftheearliestworksattheGuggenheim of a interior the of dated 1949, carriage.The tufted(and photograph, fillsthepicture horse-hair stuffed)seat cushionvirtually presumably thatarea fewyearsin theblackpaintings anditclearlyanticipates frame, the future.One is temptedto push the associationsand declarethis thechromosome thekeytoall Rauschenbergian mythologies, photograph thatcarriesall his evolvedformsin itsverychasteand yetvoluptuous Whatcould be more"everyday"and yetmoreformalistically texture. sucha view:we look at thatwhichwe hardlyglimpse,the than elegant ourbackstowhenwetakea forward thatweturn backrest lookingposition. Buteventhisphenomenological placingoftheimageis alreadyrecastin a nimbusof nostalgicdistance,as thecarriagestandsin fora lost or worldofobjectsno longerdesiredorfunctioning. preterite of is thechiefthematic also introduces Butwhatthephotograph necessitated ofslowlooking,especially thenecessity by Rauschenberg:
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thanlookingintoan illusory thechallengeoflookingat surfaces(rather balanced or or even a formally energizedcomposition).As a place of as thestunned remedy,slow lookingmightbe thought homeopathic ofa visualoverload,a sortofdelaymechanism thatgivesus one aftermath morechancetomakesenseoutofwhatwe see,whatflashesbeforeus in maelstrom ofoptically Thisthematic theeveryday processedinformation. is boundupwiththemuchdiscussed"flatbed"approachtovisualculture, withdeveloping. Theflat-bed is credited is thetable whichRauschenberg orsilkscreening so thatthestencilcan onwhichpaperis laidinlithography withthe be inkedand rolledand theimagesprinted.Taken together transfer imagecanbe movedontothe process- bywhichanyreproducible -thisprinting allowsfora largenumber ofdifferent surface images picture froma widerangeof sources(newspapers, previousbook illustrations, artifact. Thereareat etc.)tobe combinedintoone pictorial photographs, of this. it allows leasttwoimportant First, Rauschenberg consequences (and others)to resortto a vast worldof mundaneor ephemeral(and abstruseand archaic)imagesand have themreadilyavailable.This is arrivesandis circuas so muchvisualinformation especiallyimportant . Second,thenature of latedinmediathatrelyonthisreadyreproducibility refersto thischangeas "radithepictureplanechanges(Leo Steinberg cal"), sincethecombinedimagescan be gatheredand evenjumbledas objectson a desk,say, whereasthe previouslyverticaleasel always handto generateimages. andcontrolling requireda skillful oflithography, andalso by Outofhisworkwiththetechniques ofPollack'shavingtakenthecanvasoffthewallandplaced theinfluence redefined thesenseofspacein iton thefloorofthestudio,Rauschenberg outoftheworkareaontoa horizontal Thisflattening visualculture. plane, in whichacceleratedwhenRauschenberg began workingintensively intheearly1960's,alongwiththeemphasisontheabilityto print-making a different sortof "transfer" sources,generated imageryfromnumerous that no and textures of a collection the viewer sees Now images object. a of toillusionistic depth,oreven juxtaposition longerhaveanypretense The thematic materialin or againsta restructured thematic background. visual to the has ofthe(modernist) coherence flattening collage givenway combine.Now thecombinemayhavebegunlifeor ofthe(postmodern) as a quasi-sculptural achievednotoriety object(forexample,thenotorious
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intooroutofitsrubber itsstuffed wriggling goatpriapically "Monogram," were redrawn as farcical surrealist if a it' s as tire; objet),but logo corporate it achievesits greatestforcewhenthe "logic" of its visual regimen of easel resurfacesin a finalblow againstthe containedformalism to must work its the so This way through resurfacing, speak, painting. anditalsotakessomeofitsmomentum seriesofpaintings, monochromatic as well. fromthevernacular sculpture theimportance of the"flatbed"styleforall of By suggesting I valorize the s output, pictorialworkand setitagainsta Rauschenberg' abouteasel paintingand thecompositionand formal grandnarrative of objecthood.(On theflatbed meaning pictorialspace and illusionistic for but the absenceofa hierarchical, vie with one another attention, images orderingsystemtendsto makeeach pictured symbolicor illusionistic ofone. objectlesslikeanobjectandmorelike"simply"therepresentation The idea of thepaintingas thewindowontoanotherworld,or a transversionofthisone,is replacedbytheartobjectas a collocationof formed untransformed ManywouldinsistthatforRauschenberg representations.) - thelongtravail - finally andinstitutional ! theywouldadd,exasperatedly over and done with. As as of easel is early 1953,withthe painting triumph was makmuchdiscussed"Erasedde KooningDrawing",Rauschenberg Readingthe ingno bonesaboutwherehe stoodinanyOedipalnarrative. iconisanextension ofhow entire corpusunderthesignofsucha decreative the travels without read a single Rauschenberg: eye many people thesenseoftexture moves (recallKrauss's fieldofmemory), hierarchizing towardsa freeplay,formal (ormultiplied beyond questionsarebracketed suchas thosebetween andtheuseofgenericdistinctions, anyreckoning), in is not and anywaygermane. Rauschenberg sculpture painting, simply andtheir"found"quality doesn'tmakehisobjectsas traditional sculpture, tendsbothtode-realizethemas objects museumsetting juxtaposedtotheir and cast overthema nimbusof autonomy. Theyexist,as manyhave art and life. in between the noticed, gap looksverygoodinthecool,instituNevertheless, Rauschenberg ofthedemotic Andso thismaster oftheGuggenheim. tionalized sinuosity andit's hardnottoapplytothe hasbecomea museumfigure, andpreterite ofartviewing.Butwhatremains workthesortsof"standard" approaches art historicalreadingsof perhapsthe key pointis thatif traditional
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Rauschenbergseem a bitweak or totallyunacceptableto some, so, too,do the newer critical readings, even with all their theoreticalfinesse or tendentiousness.His workmay be betweenworlds,or at least whatwe are accustomed to calling discursiveworlds. Rauschenberg's way of questioningthe statusof objects and images has now led onto thequestion of how we are to see him. IfI mayinterjectan elementoftastehere,I foundtheworkI liked best in the show was the work I had been most stronglyattractedto in earlierviewings,namelythe"Hoarfrost"(1974-75) and "Pyramid"(1974) series. By printingwithhis transfermethodonto softlyhangingbolts of translucentfabric,Rauschenbergdematerializesthepictorialspace even as he plays withtheidea ofputtingpigmenton canvas. I thinkin some ways Rauschenbergalways wantedto painttheveryprocess of time(hence his fascinationwiththeater).These "Hoarfrost"hangingsare like traditional and framinghas completely canvas paintingsbeforeor afterthestretching textile. the of and And, again, theyare a combining pigment objectified sortofhomagetosfumatotechnique.The "Pyramid"seriesareravishingly set in a row of four:theoff-whitehand made paper rectangles,withtheir diaphanous scrap of fabrichangingfromtheirlower edge, are,of course, both chaste and voluptuous,texturedand evanescent.This is painting's day off,perhaps,or its finalapotheosis. One of thecentraltensionsin Rauschenbergis thatbetweenthe the hand. His hand seems remarkablein itsperfectedcasualness, and eye as each new technique is picked up to fuel an almost embarrassingly prodigiousoutput.Thathe has a superbeye mightbe doubtedbysome,and on sufficientevidence. But when you see his photographs,such an assumptiondoesn't seem to hold at all. The variousphotographson view at theGuggenheimalone would make thecareersof mostotherphotographers active in America at the presenttime. Then thereare the "early" photographsat Pace Wildenstein.The workin thismedium would make perhapsthe best claim to Rauschenberg's excessive talent,forhe seems almostaccidentallytohave masteredthemedium.Of coursetheaccidental has become a part of photographyin its currentand even avant-garde manifestations;thinkof the pathos of Nan Goldin and the social gritof RobertFrank.
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howvaultsoverthissortof contextualization, Rauschenberg ever. Because his eye is at once so vernacularand promiscuousand we cansee.Walter affiliati ve,heseesforall ofus,as ifheseeseverything thathadtobe narratives betweentraditional Benjaminmadea distinction whichwas news thatexplaineditself. and information, interpreted, ofthepresent, is so s steepedinthevisualinformation Rauschenberg'eye workbeggars that his and other recirculated media, through photographs (Thismaybe a pureinstanceofwhatSusanSontagmeant interpretation. A painting whensheurgedan eroticsofartin place of a hermeneutics.) 1" (1964), withitsimagesofJohnKennedyandan suchas "Retroactive on national wouldbe banalizedifwe saw itas a commentary astronaut, Even the internal leader. a fallen for or an "quotation" visionary elegy pride of thePresident'shand,withits dramaticpressconferenceauthority howthe indexfinger, in thepointing rendered onlyservesto underscore obvious tendsto obviateall subtlety.The manipulated triumphantly ofcolorphototransindexicalconnotations suchstrong colors,carrying fromthechargeof fersandprintroomdecisions,areeithera distraction or an admissionof how meaningthattheassemblyofimagesrepresses, is first, visualrepresentation last,and alwaysa questionof surfaceand texture. outputhas becomean alleremarkably prolific Rauschenberg's century. Everywhere goryforthevisualoverloadof thelate twentieth out Itstartles screens while image. constantly image imagebegetsimage orderin thiscarnival,and yet thatanyone artistcouldhopeto register texture- the feel of material,whetherpigmentor clothor woodbringstheeyebacktofocus.Ordermayormaynotfollow. continuously andselecting theprocessesofseeing,sorting Inthemeantime images,will havetomaketheworldsomehowsolid.Andtherestricted (and,yes,elitist a sortoftemplate serves as still butalsofocused)seeingwedo inmuseums sees can be readas the thisneed.WhatRauschenberg forthishunger, - ofallhepaintsandmakes.Returning fromone source- orcounterpoint side galleriesback to theGuggenheim'srampis to of therectilinear ofpaintafterthesharpfocusofthephotographic theviscosity rediscover frommediumto mediumis partof the print.ViewingRauschenberg butas longas wegotothesehallowed,andhallowing, museumexperience, to refinethewaywe see, it can onlybe to Rauschenberg's institutions
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as a museumartist is assured.Ofcourse,suchstature creditthathisstature and as well.(As forthe academic artcriticism isreaffirmed professional by itself,itspreviousshowwas an exhibitof drawingscalled Guggenheim as iftheywerepreparing forthecurrent "FromDürertoRauschenberg," in the summer of 1997 the Soho branch On the other hand, hagiography. unless the "Arakawa/Gins: Reexhibit ever most the mounted stupid versibleDestiny"was meantas a wickedparodyof all architectural ofreviewers.) Ifitwere,itwentundetected bythemajority utopianism. s careerandthetwoschoolsof ForanoverviewofRauschenberg' we areindebted toan excellentarticle criticalresponseithasengendered (in the September,1997 Artforum) by Thomas Crow, an important On theone hand,Crow theory. exampleofthecriticaluses ofreception as a key that use s biography ofapproaches seesa category Rauschenberg' to thechangesin theart tohiswork.Forexample,Crowhimselfattends for movestoRoridaandcompletestheillustrations whenRauschenberg and Dante (1958-60). Here a certaincriticaltemperament displays, out ofhowprivatebecomespublic,theworking heroicizes,thethematic of an almosthapticOdysseythroughwhichRauschenberg'spersonal intopublicspace that demonsand delightsgetrecastas interventions visual On theother our collective andpunctuate summarize experience. on focusedapproachthatconcentrates is a moreart-historically hand,there to the hallowed how theworkhas attacked(and presumably rout) put withtheirlongcommitment toillusionraised ofeaselpainting, traditions andcraftsmanship elevatedto genius.Buteven tothepitchofautonomy Crowis leftattheendwithsomeambivalence: approach thoughthefirst hasroomlefttodevelop,thesecondtendstoslightthe"richparticularities" tobeing thatmustplaya rolein anyevaluationthatwouldhavepretense is thathashappenedtoRauschenberg's final.Oneofthethings reputation himintoa Picasso-like hasturned airlessworldofarthistory thattherather on thework:combine, onecategory afteranother figurewhilebestowing booklet the sayshehasbeenhailed PopArt,postmodern Guggenheim's sinceAbstract of virtually as "theforerunner everypostwarmovement Expressionism." is thatof thatsomewouldapplytoRauschenberg One category this term. has showered on the postmodernism "genius",despite disrepute But surelyanyonebutthemostoverstimulated publicistwouldwantto
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whenspeakingofRauschenberg. Couldwe sayhe is inflect thecategory Those who look to the artist's or public an off-hand genius? biography mighteasilyrevelintheparadoxes personatosecuretheirinterpretations evenremember Pauline wouldgiveriseto;somemight suchcategorizing of Wells' "CitizenKane" as a "shallowmasterKaeFs characterization has been noticeablyfreeof vanityand all the piece." Rauschenberg As ifinreturn attendant for celebrity. capriceandexcessofcontemporary his treatment the critics has such relativeand refreshing modesty, by Few have priedintohis sexual combinedrespectand even restraint. forexample,as JillJohnston did withJohns(to verylittle orientation, ambition oftheROCI (Rauschenberg effect, bytheway).Eventhevaulting where travelled all OverseasCultural Interchange) project, Rauschenberg overtheworldsettingup exhibitsand appropriating visual indigenous hasn'tbeen castigatedas an exampleof vocabulariesand traditions, Theclaimtogeniusrestslargelyonhisability cultural toshift imperialism. tonewandoftentechnologically advancedmedia,toremainengagedwith oftheartist ofthe theeveryday (CrowquotesAllenKaprow'sdescription as "discoverfing] outof ordinary fifties thingsthemeaningof ordinariwitha ness"),and to trusthis own measure,eitherwhencollaborating of technicians or with his peers. competing group Claims forgeniuswill in partalways be claims about how the artistor the workis, or can be made to appear. representative abouthisownstanding, northe ofcourse,is notinnocent Rauschenberg, relation hisartbearstothetimein whichitappeared.Oftenquotedis his remarkaboutthewhitepaintingsof thelate fifties:"It is completely - todayis their creator." Andlaterhesaid irrelevant thatI ammakingthem art."Suchtraditional notions were"inventing hefeltas ifheandhisfriends - theexpression andthefeelingofabsoluteoriginality oftheZeitgeist withits mightseem to sit uneasilyin thepoeticsof postmodernism, is also andpersonalautonomy. ofgrandoverviews mistrust Interpretation As Fred Jameson bedeviledbypostmodern observed, interpretive poetics. theoriesworkby dichotomizing specificfeaturesof the object,then todepth.Whatgetsdichotomized, themas parttowholeorsurface relating andwhatcountsas depthorthewhole,is, ofcourse,wherethedisputes s work,however,theveryidea of come intoplay.WithRauschenberg' But theworkalwaysexistsin a detailor depthseemsto be unmoored.
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ornotRauschenberg couldhavemanaged field,andso whether (changing) cultureseemsintent tobecomea geniusbyhisownwill,thesurrounding on declaringhimone. A closingimage.Twentyyearsago I saw "Monogram"at the museuminStockholm, alongwithseveralworksofDuchamp.I remember wornanddusty,butitstoodoutamonga hostofPop itas lookingrather I was andothers.AttheGuggenheim ArtworksbyWarhol,Lichtenstein struckby the(relative)cleannessof thegoat's long hairs;it has been memostwas the showing.Butwhatstruck sprucedup forthisimportant On thegoat'snoseis a squiggleof whichI had forgotten. "key"feature ordersof severaldabsofpaintinvariouscolors.Yes, theold interpretive : at least are after all humanistic (or right enough)whatthe psychology right his himself. The is is mostoften artist sticking goat Rauschenberg, pictures it leads doesn'tbelong,followingit wherever nose whereit (normally) him.
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