Robert Rauschenberg, Bed

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Robert Rauschenberg, Bed발음듣기

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(lively piano music) Voiceover: We're on the 4th floor of the Museum of Modern Art in New York, and we're looking at Robert Rauschenberg's, "Bed."발음듣기

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This is a combine, not quite a sculpture, not quite a painting, from 1955.발음듣기

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Voiceover: So, combine means a combination of painting and sculpture?발음듣기

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Voiceover: Well, Johns and Rauschenberg were actually thinking about their art as between art and life, and what is that narrow space between the two?발음듣기

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Voiceover: Instead of thinking about it between painting and sculpture between these two things that symbolize fine art in the grand tradition, inserting life into that conversation.발음듣기

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Voiceover: Life and wit.발음듣기

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What we're looking at is, in fact, the stuff of a real bed.발음듣기

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We're looking at a real pillow.발음듣기

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We're looking at a real pillowcase, and a handmade quilted blanket, sheets, but if you look closely, you're also seeing pencil and paint.발음듣기

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Of course, all of this has been taken out of the horizontal where you could lie down on this, and put up on the wall.발음듣기

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Voiceover: I'm reminded of Pollock, of Pollock painting on the floor, and then those pieces of canvas being picked up and put on the walls of a museum or a gallery.발음듣기

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The other way I'm reminded of Pollock is in all the drips that we're seeing here.발음듣기

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Voiceover: This is a reference that Rauschenberg wanted you to come to.발음듣기

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Voiceover: The Pollocks are just 5 years old, the great drip paintings.발음듣기

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Voiceover: That's exactly right.발음듣기

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This artist wanted you to be thinking about Pollock.발음듣기

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This is really a confrontation with Pollock, with abstract expressionism broadly.발음듣기

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That was the dominant contemporary art of this moment in 1955.발음듣기

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Pollock would die the following year.발음듣기

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Voiceover: When I think about abstract expressionism, I think about the personal subjective experience of the artist on the canvas.발음듣기

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I guess it makes sense to me that this is a bed, a place of our unconscious, of our dreams.발음듣기

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Voiceover: I think it's also tongue-in-cheek.발음듣기

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This notion that the abstract expressionist canvas was somehow the manifestation of the internal state of the artist.발음듣기

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Rauschenberg is saying, "You really believe that?발음듣기

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Well let me give you the actual arena of the dream.발음듣기

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I'm going to give you my bed.발음듣기

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Voiceover: So, you think he's making fun in a way?발음듣기

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Art historians sometimes talked about the kind of Oedipal relationship between Rauschenberg or younger artists, and the abstract expressionists that he was friends with at this time.발음듣기

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Voiceover: That makes this a kind of in-joke.발음듣기

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Voiceover: 1955, in the work of people like Johns and Rauschenberg, is the moment when art moves from being modernist in its sincerity to a kind of post-modern attitude that is responsive and that is self-aware, a kind of hyper self-awareness.발음듣기

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Voiceover: We could understand that as a switch between modernism to post-modernism.발음듣기

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Voiceover: Or sincerity to irony.발음듣기

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Voiceover: It is true that when I think about abstract expressionism, there is this attempt by each of those artists, Newman, Pollock, Rothko, Motherwell, the great artists of the abstract expressionist movement, each one of them has a very distinctive, individual style.발음듣기

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You can't say that there's an abstract expressionist style because it's completely dependent on the individual.발음듣기

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There is that idea that the painting is this manifestation of their personality, their psyche.발음듣기

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Voiceover: What happens here, is we have an artist who is self-consciously imitating that idea of the authentic.발음듣기

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If you look closely, the drip had become, by 1955, almost a kind of emblem of the authentic experience of the authentic moment. Here, that is being replicated.발음듣기

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There's a kind of irony that's built into it.발음듣기

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I think of stepping back from buying that notion that art can be this true internal thing.발음듣기

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Voiceover: By virtue of copying what is supposed to be someone else's individual style, there is a kind of irony, a kind of self-consciousness there, a kind of adopting for another purpose.발음듣기

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Voiceover: But then, all of this is [laid over] the found objects or objects from Rauschenberg's bed.발음듣기

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There's something incredibly personal, but also absurdist here.발음듣기

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That's why Johnson and Rauschenberg are sometimes referred to as Neo-Dadist, because they picked up the mantle, the flag of people like Duchamp, who are interested in irony, in playfulness, in a reprising of ideas, and reconstructing of a vocabulary of meaning.발음듣기

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Voiceover: Well, it is true that Duchamp took on the tradition of Western art and all its seriousness and high-mindedness.발음듣기

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I can see that here with the Rauschenberg in that commenting on the sincerity and seriousness of abstract expressionism. (lively piano music)발음듣기

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