Abstract
Robert Rauschenberg is not usually thought to have had much contact with Surrealism and even spoke openly about his disdain for the movement on some occasions. However, through the period 1958–69, the Surrealists showed great enthusiasm for the ‘poetic’, ‘metaphorical’ resonance of Rauschenberg’s work, a positive response that has since largely been lost. In place of that history, the interpretation of Rauschenberg by John Cage as a ‘literalist’ or ‘factualist’ gained ground and even came to define the artist’s œuvre in some quarters, a reading that Rauschenberg himself approved. Caught in the middle of these two versions of Rauschenberg are the largely untranslated texts of French poet, critic, and ex-Surrealist Alain Jouffroy (1928–2015), which form the substance of this article. Jouffroy pioneered the positive critical reception of Rauschenberg in France from 1961 while he continued to be influenced by his Surrealist past, to the point that his writings on Rauschenberg reveal consistent contradiction under close reading. The highest point of tension was reached across 1963–64 when Jouffroy wrote eulogistic poems devoted to Rauschenberg’s massive silkscreen painting Barge (1962–63) and to Surrealism in L’Antichambre de la nature (1966, written in 1964), alongside key texts of art criticism on Rauschenberg. Culminating in an analysis of the silkscreen and poems, this article argues that while Jouffroy’s writings seem ostensibly to further the Cagean interpretation of the artist, they are riven by an awkward dual loyalty that can be read in support of a ‘poetic’ ‘Surrealist Rauschenberg’.
Published Version
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