Robert Rauschenberg, the revered painter and print maker who also turned to assemblage and installation work, has never stopped astounding art enthusiasts, so it’s no surprise that Pace Gallery’s ‘Robert Rauschenberg: Anagrams, Arcadian Retreats, (A Pun)’, which opened this week in New York, is dedicated to the artist pioneering new methodology that combines the dye transfer process of continuous color photography with large scale paper (and even laminate) panels, and sees queues going around the block. Staged together with the Robert Rauschenberg Foundation, the show marks the first time Pace Gallery has shown the artist's works since his death in 2008.
‘Rauschenberg galvanized the artists of the second half of the 20th century and contributed to the rise of every art movement of the sixties and seventies straight through,’ says Marc Glimcher, president of Pace. A case in point: the artist’s groundbreaking work of the 50’s and 60’s alone not only preceded Pop art, but also Neo-Dadaism. At the same time, Rauschenberg’s oeuvre also made a profound impact on both Minimalist and Conceptual artists.
What makes the works on view so extraordinary is that Rauschenberg’s water-soluble inkjet transfer process led to a fluid painterly appearance. Such pivotal examples as the artist’s 1996 piece, ‘Fusion (Anagram)’ which stretches more than twelve feet in width, practically envelops the viewer with disparate images ranging from bottles of Pepsi, bicycle wheels and electric light bulbs that seem lost in a haze. It’s that notion of capturing out-of-the-blue elements, such as bags of balloons and Grecian sculptures that leave the viewer searching for yet more recognizable objects.
It’s a wonderful precursor to the Tate Modern’s Rauschenberg retrospective next year – the institution’s first highlighting of the artist’s oeuvre since his death.
The exhibition focuses on Rauschenberg's pioneering methodology that combined the dye transfer process of continuous color photography with large scale paper (and even laminate) panels. Pictured: 'Chateau Shadow (Anagram)', 1997, inkjet dye transfer on paper
Pictured: 'Fusion (Anagram)', 1996, inkjet dye transfer on paper, which stretches more than twelve feet in width
Just opened this past weekend, the exhibition has caused queues to snake around the block. Pictured: 'Street Peacock (Anagram)', 1997, inkjet dye transfer on paper
What makes the works on view so extraordinary is that Rauschenberg’s water-soluble inkjet transfer process led to a fluid painterly appearance. Pictured: 'Fiction (anagram)', 1996, inkjet dye transfer on paper
Pace Gallery's exhibtion is a wonderful precursor to the Tate Modern’s retrospective next year. Pictured: 'Temple (Arcadian Retreat)', 1996, fresco, artist’s frame
INFORMATION
‘Robert Rasuchenberg: Anagrams, Arcadian Retreats, Anagrams (A Pun)’ will be open until 12 December
ADDRESS
Pace Gallery
534 West 25th Street
New York
-
A bridge in Buffalo heralds a new era for the city's LaSalle ParkA new Buffalo bridge offers pedestrian access over busy traffic for the local community, courtesy of schlaich bergermann partner
-
Hyper realistic animatronic dolls come to life in Diego Marcon's new filmSpectacle meets surrealism in Diego Marcon’s latest film, 'La Gola'
-
Our Tech Editor's selection of new and upgraded audio players covers the full spectrum of formatsWhether it’s vinyl, cassette, CD or mp3, or even sound sources you’ve captured yourself, you’ll find a suitable device in this round-up of pocketable and portable audio players
-
Brutalism in film: the beautiful house that forms the backdrop to The Room Next DoorThe Room Next Door's production designer discusses mood-boarding and scene-setting for a moving film about friendship, fragility and the final curtain
-
'There’s an anxiety under all of it': Violet Dennison in New YorkViolet Dennison debuts abstract paintings with new show 'Damaged Self' at Tara Downs Gallery
-
‘Gas Tank City’, a new monograph by Andrew Holmes, is a photorealist eye on the American West‘Gas Tank City’ chronicles the artist’s journey across truck-stop America, creating meticulous drawings of fleeting moments
-
Mark Armijo McKnight’s bodily landscapes capture the tactile serenity of the American WestThe artist’s new exhibition at the Whitney Museum, which is organised by the museum curator Drew Sawyer, offers a succinct window into his contemplative suggestion of queering a landscape
-
Dark, glamorous and hedonistic: a photography book captures New York in the 1990sNew York: High Life, Low Life, by Dafydd Jones, goes behind the scenes of New York society
-
Derrick Alexis Coard’s portraits are a sensitive, positive testimony to Black menThe late artist Derrick Alexis Coard’s retrospective ‘I Am That I Am’, at New York’s Salon 94, honours his ‘symbolic expression for possible change for the African-American male community’
-
Intimacy, violence and the uncanny: Joanna Piotrowska in PhiladelphiaArtist and photographer Joanna Piotrowska stages surreal scenes at the Institute of Contemporary Art at the University of Pennsylvania
-
First look: Sphere’s new exterior artwork draws on a need for human connectionWallpaper* talks to Tom Hingston about his latest large-scale project – designing for the Exosphere
