| ..."Rummaging beyond the fray, collecting
trash, filling the gaps is Robert Rauschenberg, who wrings a visceral
poetry out of life's detritus. He's not like Lichtenstein, who serves
it up big and silly, or like Paolozzi,
who brings it together clearly and brightly..."
"For Rauschenberg, art's about the hard-won renewals that follow life's ironic, poignant, violent, beautiful obfuscations. In Storyline I (Bonnie and Clyde), 1968, or The Week in Review, 1973, images from movies, magazines, and newspapers are partially wiped out; Rauschenberg's layer of violation on top of the initial saturation becomes a conflicting act of reclamation and disavowal. In Revolver, circa 1967, five Plexiglas disks are silk-screened with images cropped from ads and art history. By gently turning the disks, an endless combination of images is revealed and concealed; this time Rauschenberg lets the viewer determine the course. His open-endedness leads me down a thousand paths; at times this type of freedom is revelatory, at other times it's debilitating."
Excerpt from An Ode To Persuasive Images by Corinna Ripps