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The audacity of goats4/26/2023 ![]() ![]() Of course, anything may feel inevitable after it has happened, but some things feel more consequentially so than others.Įarly in his career, Rauschenberg specialized in talismans of destiny, such as, in 1951, a series of uninflected all-white paintings that inspired the composer John Cage, a friend, to create “4'33" ”: a pianist not playing a piano for exactly four minutes and thirty-three seconds. While creating the universe, did God have in mind that, at a certain point, a stuffed goat with a car tire around its middle would materialize to round out the scheme? It came to pass, in New York, with “Monogram” (1955-59)-goat, tire, and also paint, paper, fabric, printed matter, metal, wood, shoe heel, and tennis ball-which is now on view at the Museum of Modern Art, in “Robert Rauschenberg: Among Friends,” an immense retrospective of the protean artist, who died in 2008, at the age of eighty-two. Photograph by Steve Schapiro / Corbis / Getty For a great artist, Rauschenberg made remarkably little good art, but he affected the sense of vocation of subsequent generations. ![]()
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