The art of Robert Rauschenberg (1925-2008) is usually viewed as quite distinct from Surrealism, a movement which the artist himself displayed some hostility towards. However, Rauschenberg had a very positive reception among Surrealists, particularly across the period 1959-69.
In the face of Rauschenberg's avowals of his own 'literalism' and insistence on his art as 'facts,' this book gathers generous evidence of the poetic, metaphorical, allusive, associative and connotative dimensions of the artist's oeuvre as identified by Surrealists, and thus extrapolates new readings from Rauschenberg's key works on that basis. By viewing Rauschenberg's art against the expansion of the cultural influence of the United States in Europe in the period after the Second World War and the increasingly politicized activities of the Surrealists in the era of the Algerian War of Independence (1954-62), Robert Rauschenberg and Surrealism shows how poetic inference of the artist's work was turned towards political interpretation. By analysing Rauschenberg's art in the context of Surrealism, and drawing from it new interpretations and perspectives, this volume simultaneously situates the Surrealist movement in 1960s American art criticism and history.
Rezensionen / Stimmen
Parkinson's expansive study opens up poetic, allusive, and sometimes political layers in Rauschenberg 's works, unearthing important responses from Parisian critics and writers. This approach unexpectedly establishes Rauschenberg's Surrealist inflected roots, whilst contributing to the recent wave of expanded consideration of post-war, later Surrealism. * Lewis Kachur, author of Displaying the Marvellous: Marcel Duchamp, Salvador Dali, and Surrealist Exhibition Installations (2001), and Professor of Art History, Kean University, USA * With remarkable precision, thoroughness, and generative energy, Parkinson's book offers an authoritative account of the French surrealist reception of Rauschenberg's work in the 1960s. Analysing little-known and untranslated texts, Parkinson shows just how enmeshed the aesthetic and political registers were for these writers and artists. * Edward Krcma, Associate Professor of Art History, Department of Art History and World Art Studies, University of East Anglia, UK * This impressive book is more than a study on Rauschenberg and Surrealism, more specifically on the largely unnoticed or forgotten link between them. It is also a reflection on the way we write art history today, as a strange mix of theory, thoroughly documented archival research and, above all, an obsession with linear periodization. -- Jan Baetens * Leonardo Reviews *
Reihe
Sprache
Verlagsort
Verlagsgruppe
Bloomsbury Publishing PLC
Zielgruppe
Für höhere Schule und Studium
Produkt-Hinweis
Broschur/Paperback
Klebebindung
Illustrationen
Maße
Höhe: 229 mm
Breite: 152 mm
Dicke: 25 mm
Gewicht
ISBN-13
978-1-5013-8870-5 (9781501388705)
Copyright in bibliographic data and cover images is held by Nielsen Book Services Limited or by the publishers or by their respective licensors: all rights reserved.
Schweitzer Klassifikation
Gavin Parkinson is Professor of European Modernism, The Courtauld Institute of Art, UK.
Autor*in
Professor of European ModernismCourtauld Institute of Art, UK
Introduction
1. Poet: Allegory and Metaphor in US Art History and Criticism
2. In the Surrealist Domain: Bed and Target with Plaster Casts
3. Opposer: The Poetics and Politics of Canyon in Paris and New York, 1961
4. Surrealist of the Re-Found Object: Monogram in Front Unique
5. Resistance Artist: Bed at Anti-Proces
6. The Constantin Guys of the Atomic Era: Alain Jouffroy, Talisman and Barge
7. Choisiste: 'Things' in French and US Art Criticism in the 1960s
8. Surrealist in Irony: Jose Pierre and Trophy III (for Jean Tinguely)
Concluding Remarks: On Robert Rauschenberg, Surrealism and Art History
