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Random Order: Robert Rauschenberg and the Neo-Avant-Garde (October Books) | 
 enlarge | Author: Branden W. Joseph
Publisher: The MIT Press
Category: Book
List Price: $19.95
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Avg. Customer Rating:  1 reviews
Sales Rank: 348654
Media: Paperback
Number Of Items: 1
Pages: 432
Shipping Weight (lbs): 1.8
Dimensions (in): 16.5 x 8.9 x 0.8
ISBN: 0262600714
Dewey Decimal Number: 709.2
EAN: 9780262600712
ASIN: 0262600714
Publication Date: April 30, 2007
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Product Description
Robert Rauschenberg is one of the most important visual artists of the second half of the twentieth century. In Random Order, Branden Joseph examines Rauschenberg's work in the context of the American neo-avant-garde. One of the foundations of his study is Rauschenberg's professional relationship with experimental composer John Cage. From the moment of their encounter at Black Mountain College in 1952, Joseph argues, Rauschenberg and Cage initiated a new avant-garde project, one that approached the idea of difference not in terms of negation but as a positive force. Claiming that Rauschenberg's work cannot be understood solely from the standpoint of the Frankfurt School?whose theories have dominated discussions of avant-garde and neo-avant-garde aesthetics?Joseph turns to the theoretical positions of Gilles Deleuze and Jacques Derrida. Rauschenberg's neo-avant-garde was not a simple repetition of earlier avant-garde movements, Joseph shows, but a series of practices that opposed the rise of postwar spectacle, commodification, and mass conformity.
Beginning with the White Paintings, Joseph examines Rauschenberg?s artistic development from 1951 to 1971. He looks at the black paintings, Red Paintings, Elemental Paintings and Elemental Sculptures, Combines and Combine paintings, transfer drawings and silkscreens, performances, and explorations in art and technology. Joseph's study not only offers new interpretations of Rauschenberg's work, but also deepens our understanding of the entire neo-avant-garde project.
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Indispensable August 3, 2006
5 out of 6 found this review helpful
This study of Rauschenberg will doubtless make itself pretty much indispensable in the literature on the artist. It's a brilliant study- Joseph is in command of the literature on the topic, demonstrates a great deal of theoretical sophistication, as well as showing a lot of sensitivity to the works and their context.
Joseph's contention is to explore Rauschenberg's work in relation to the Neo-avant-garde, seeking to show that his work (along with his colleague John Cage) was neither a farcical repetition of 1920s Dada (ie jaded attempts to "shock" the viewer), nor was it an ironic casting-off of the avant-garde project in favour of a capitulation to commodity capitalism (ie through his pop culture references and so on). Instead, Joseph argues- convincingly- that Rauschenberg (and Cage) sought to escape the tyranny of the self- the "ego" of Absract Expressionism, in order to open up perception to differentiation and multiplicity- an attempt to open up a space beyond the totalised structures of late capitalism. (Joseph's concerns give away his being an ex-student of Benjamin Buchloh- hence these particularly Frankfurt School concerns). So for Joseph, Rauschenberg's White Paintings, or his Tire Print with John Cage, were not simply juvenile pranks, nor farcical, worn-out shock tactics, but serious attempts to disclocate habitual modes of perception and cognition- in this way, Rauschenberg both differs from, and continues the avant-garde project of political change.
Joseph makes a good case- in particular, his first chapter, on Rauschenberg and Cage, where he examines their interest in temporality and flux in relation to the ideas of Bergson, is quite brilliant. But the level of discussion is sustained throughout- it's a compelling and fascinating read which will doubtless provoke a great deal of thought.
As you would expect from the MIT Press, its not a study for the lay reader- the usual phalanx of thinkers are brought to bear- Foucault, Deleuze, Bataille and the like- although Joseph draws on them judiciously, without detracting from the focus of his study. In fact its very readable indeed- Joseph hasn't succumbed (yet) to the puffed-up rhetorical excesses of some of his October colleagues.
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