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Picador claimed Calvin Tomkins first discovered the work of Robert Rauschenberg in the late 1950s, when he began to look seriously at contemporary art. While gazing at Rauschenberg´s painting Double Feature, Tomkins felt compelled to make some kind of literal connection to the work, and it is in that sprit that ´for the last forty years it´s been [his] ambition to write about contemporary art not as a critic or a judge, but as a participant.´ Tomkins has spent many of those years writing about Robert Rauschenberg, whom he rapidly came to see as ´one of the most inventive and influential artists of his generation.´ So it seemed natural to make Rauschenberg the focus of Off the Wall, which deals with the radical changes that have made advanced visual art such a powerful force in the world.Off the Wall chronicles the astonishingly creative period of the 1950s and 1960s, a high point in American art. In his in his collaborations with Merce Cunningham and John Cage, and as a pivotal figure linking abstract expressionism and pop art, Rauschenberg was part of a revolution during which artists moved art off the walls of museums and galleries and into the center of the social scene. Rauschenberg´s vitally important and productive career spans this revolution, reaching beyond it to the present day. Featuring the artists and the art world surrounding Rauschenberg--from Jackson Pollock, and Willem de Kooning to Jasper Johns, Frank Stella, and Andy Warhol, together with dealers Betty Parsons, and Leo Castelli, and the patron Peggy Guggenheim--Tomkins´s stylish and witty portrait of one of America´s most original and inspiring artists is fascinating, enlightening, and very entertaining.
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