Transition Points: Notes on the Interplay between Art and Art History in the Time of Visual Culture

In an issue devoted to the work of Robert Rauschenberg, the author considers Richard Hamilton's small-scale collage 'Just what is it that makes today's homes so different, so appealing?' (1956; illus.), relating it to Rauschenberg's development of a strategy of involving obj...

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Published inKonsthistorisk tidskrift Vol. 76; no. 1-2; pp. 78 - 91
Main Author Hayden, Hans
Format Journal Article
LanguageEnglish
Published Taylor & Francis Group 01.01.2007
Subjects
Aesthetic subjects
Art History
Estetiska ämnen
HUMANIORA och RELIGIONSVETENSKAP
HUMANITIES and RELIGION
Konstvetenskap
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Summary:In an issue devoted to the work of Robert Rauschenberg, the author considers Richard Hamilton's small-scale collage 'Just what is it that makes today's homes so different, so appealing?' (1956; illus.), relating it to Rauschenberg's development of a strategy of involving objects, images and texts in his work and eventually to transform certain pasintings into 3 dimensional objects. The author quotes Rauschenberg's view that 'there is no poor subject' for painting, interpreting this in the context of the relationship between art and society in modern Western culture, and analyses the composition of works such as 'Monogram' (1955-59) in terms of the boundaries between different types of art and non-art, visual literacy, and the layers of meaning and interpretation implicit in modern visual culture.
Bibliography:ObjectType-Article-1
SourceType-Scholarly Journals-1
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content type line 23
ISSN:0023-3609
1651-2294
1651-2294
DOI:10.1080/00233600701349777