Robert Rauschenberg was not a giant of American art; he was the giant. No American created so many aesthetic openings for so many artists.
Interpretation
This quote highlights Robert Rauschenberg's monumental influence on American art and artists.
Jerry Saltz emphasizes Robert Rauschenberg's unparalleled impact on the art world, suggesting that his innovative approaches and aesthetic freedom opened the doors for numerous other artists to explore their creativity. Rauschenberg's work challenged conventions and norms, making him a pivotal figure in the evolution of art in America.
In practice
During an art lecture, one could quote this to demonstrate the transformative impact of artists on cultural landscapes.
'Untitled' is a time machine that can transport you to 1992, an edgy moment when the art world was crumbling, money was scarce, and artists like Tiravanija were in the nascent stages of combining Happenings, performance art, John Cage, Joseph Beuys, and the do-it-yourself ethos of punk. Meanwhile, a new art world was coming into being.
Artists working for other artists is all about knowing, learning, unlearning, initiating long-term artistic dialogues, making connections, creating covens, and getting temporary shelter from the storm.
I have a soft spot for art that, in terms of subject matter and material, is in bad taste.
The giant white cube is now impeding rather than enhancing the rhythms of art. It preprograms a viewer's journey, shifts the emphasis from process to product, and lacks individuality and openness. It's not that art should be seen only in rutty bombed-out environments, but it should seem alive.
In art, scandal is a false narrative, a smoke screen that camouflages rather than reveals. When we don't know what we're seeing, we overreact.
I don't often go to curator or artist walk-throughs of exhibitions. For a critic, it feels like cheating. I want to see shows with my own eyes, making my own mistakes, viewing exhibitions the way most of their audience sees them.
Film your murders like love scenes, and film your love scenes like murders.
A picture lives by companionship, expanding and quickening in the eyes of the sensitive observer. It dies by the same token. It is therefore risky to send it out into the world. How often it must be impaired by the eyes of the unfeeling and the cruelty of the impotent.
I believe your home tells a story about who you are and who you aspire to be. We represent ourselves through the things we own. I don't believe in trends. I believe in collecting things that you connect with. We should surround ourselves with things we care about, that have meaning.
Hollywood wants to go for the flash, because that's what a lot of them think science fiction is.
Some things you know about, you know what the ingredients are - maybe not all of them. But it's up to you to put in the amount. It's up to the director to nag you until you get it right.
The pages are still blank, but there is a miraculous feeling of the words being there, written in invisible ink and clamoring to become visible.
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