The Baby is Born: An Essay comparing Robert Rauschenberg to Jasper Johns

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The Baby is Born: An Essay comparing Robert Rauschenberg to Jasper Johns
According to Amy Newman , who wrote an excellent historical account of the development of the journal Art Forum, the absolute demise of abstract expressionism, that last vestige of modernism, was felt like a swift blow at the publishing of Art Forum in June 1967, when Sol LeWitt, Donald Judd and others published written accounts of conceptual art and minimalism that finally shed the hold of expressionism. This was preceded by the withdrawal of Clement Greenberg as an art critic in 1962 when his rock solid concept of formalism was challenged to the death. And so the art world dove into a new era of relaxed interpretation of art by critics such as... and a furious pent up desire to take on the establishment was fuelled not only by the changes in art but by the turbulent anti-Vietnam politics of the day. And so after a long and painful birth, the baby, post-modernism was born.
Examination of the birth of post-modernism would be incomplete without the discussion of two artists, each uniquely instrumental in tearing down the dogma of formalism set by Clement Greenberg: Robert Rauschenberg and Jasper Johns. These two artists challenged the bedrock of Greenbergian formalism of the 50’s (Abstract Expressionism) and pioneered new art practice which is now recognized as post-modernism. The work of Rauschenberg and Johns was brave and pivotal in shifting the belief about what art was and what art could be. This paper will formally analyze two works, “Bed” by Rauschenberg’s ” with Jasper’s “Target with 4 faces” for the purpose of identifying commonalities and differences. The two works were purposefully chosen for two reasons: external response and the artist’s initial motivation. (Note When Bed was first exhibited in 1958, Newsweek said it “recalls a police photo of the murder ...)

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