Rauschenberg and the Materialized Image, Part 01

What Rauschenberg was insisting upon was a model for art that was not involved with what might be called the cognitive moment (as in single-image painting) but instead was tied to the durée—to the kind of extended temporality that is involved in experiences like memory, reflection, narration, proposition. In lodging his art there—within the durée— Rauschenberg went on, year after year, in good work and in bad, infusing what he made with a certain stance about the function of art, a stance which at the present time has a special relevance and urgency.

Rosalind Krauss, Rauschenberg and the Materialized Image, Robert Rauschenberg, October Files 4

Advertisements

Leave a Reply

Fill in your details below or click an icon to log in:

WordPress.com Logo

You are commenting using your WordPress.com account. Log Out / Change )

Twitter picture

You are commenting using your Twitter account. Log Out / Change )

Facebook photo

You are commenting using your Facebook account. Log Out / Change )

Google+ photo

You are commenting using your Google+ account. Log Out / Change )

Connecting to %s