Ocula Report Havana Biennial 2019: Constructing the Possible 17 Apr 2019 : Federica Bueti for Ocula I first visited Havana in November 2016, a few days after Fidel Castro died, and just under a year before Hurricane Irma hit Cuba in September 2017. Since then, much has changed, including the hand-painted signs that punctuate the journey from the airport to the city centre, which today do not celebrate the revolution so much as the 'Unidad y...
Ocula Conversation Andrew Stahl and Guo Xiaohui The exhibition Beyond Boundaries at Somerset House in London (12 March–2 April 2019) marked the historic contributions of the Central Academy of Fine Arts, Beijing (CAFA) and the Slade School of Fine Art, University College London, on the occasion of their 100th and 150th anniversaries, respectively. Spread across several rooms of Somerset House's...
Ocula Report The National 2019: New Australian Art 13 Apr 2019 : Elyse Goldfinch for Ocula The National 2019: New Australian Art features work by 70 contemporary Australia-based artists split across three venues: the Art Gallery of New South Wales (AGNSW), Carriageworks, and the Museum of Contemporary Art Australia (MCA) (29 March–21 July 2019), as curated by Isobel Parker Philip, curator of photographs at AGNSW; Daniel Mudie Cunningham,...
A pioneering painter, sculptor, photographer, printmaker and performance artist, Robert Rauschenberg's career spans multiple genres and historical movements. Most widely recognised for his 'combines'- assemblages incorporating the visual vocabulary of painting and sculpture- and pop art prints juxtaposing icons of American culture, Rauschenberg is credited as one of foremost artists who reacted against the dominant school of Abstract Expressionism.
His practice actively engaged with social and political issues, including a boycott of 1970 Venice Bienale during the Vietnam War, for which he was nominated as the representative for the U.S pavilion. His collaborations and exchanges with contemporaries such as Jasper Johns, Merce Cunningham, John Cage, Trisha Brown and Cy Twombly has produced one of the most experimental bodies of work in the post war period. His iconoclastic approach to technique has continued to inspire artists of the 21st century.
Robert RauschenbergStone Roll (Urban Bourbon), 1995 Acrylic on bonded aluminium
Robert RauschenbergJaywalk (Anagram), 1996 Inkjet dye transfer on paper![Golden Boy [Anagram (A Pun)] by Robert Rauschenberg contemporary artwork](http://d3rtf5gv0re40d.cloudfront.net/anzax/76/76941eea-525b-4d77-ad99-53fcf3dd9a00_300_399.jpeg)
Robert RauschenbergGolden Boy [Anagram (A Pun)], 1997 Inkjet dye transfer on polylaminate
Robert RauschenbergFeatures from Currents #76, 1970 Handprinted silkscreen in colour on Aqua B 844 paper
Robert RauschenbergFeatures from Currents #63, 1970 Handprinted silkscreen in colour on Aqua B 844 paper
Robert RauschenbergFeatures from Currents #57, 1970 Handprinted silkscreen in colour on Aqua B 844 paper
Ocula Conversation Jens Faurschou Co-founder, Faurschou Foundation When American artist Robert Rauschenberg opened his first and last gallery exhibition in China, (he died shortly thereafter), it was with Galleri Faurschou in Beijing, owned by Danish collectors Jens Faurschou, and his now former wife, Luise. Jens Faurschou took Ai Weiwei to see the show and the acclaimed Chinese artist, impressed by both the...
Related Press MASS MoCA: It’s a Site for All Eyes The New York Times : 15 June 2017 MASS MoCA, the vast, multibuilding museum of contemporary art here, is a weird and wonderful place. For one, the dominance of brick walls, wood floors, big windows and frequent columns of its repurposed 19th-century factory buildings is the apotheosis of SoHo, whose small-industry loft spaces were taken over by commercial art galleries in the...
Related Press The Untold Story of Rauschenberg’s Earliest Champion Hyperallergic : 30 May 2017 It is hard to imagine a time when Robert Rauschenberg wasn't wildly admired. But it certainly was the case in the earliest days of his career, especially among the older generation of Abstract Expressionists who found him irreverent. They labeled his antics 'anti-art', and disregarded him altogether.
Related Press A TINY MASTERPIECE BY ROBERT RAUSCHENBERG The New Yorker : 30 May 2017 Robert Rauschenberg made large-scale art. His painting Port of Entry, one of the two hundred and fifty works on view in the scintillating new Rauschenberg retrospective at the Museum of Modern Art, is ten feet high by fifteen feet long. Mud Muse, a tank of merrily bubbling, sonically activated driller's mud, requires a good-sized room of its...
Related Press A Museum Where Giant Art Has Room to Breathe The New York Times : 26 May 2017 The master plan for MASS MoCA in 1986 was a wildly ambitious dream: to simultaneously rehabilitate all 28 buildings of a shuttered 19th-century factory in this depressed Berkshire County town for the long-term display of monumental art installations.
