Click to increase image sizeClick to decrease image size Notes 1. For an analysis of the complex relationship between The Independent Group and the Institute of Contemporary Art, see Anne Massey, »The Independent Group: Towards a Redefinition«, Burlington Magazine, No. 1009, Vol. 79, April 1987, pp. 232ff. 2. Richard Hamilton, »Man, Machine, Motion« (1955), Collected Words 1953–81, London, 1982, p. 24. 3. Hal Foster, »On the First Pop Age«, New Left Review, No. 19, Vol. 44, January-February 2003, pp. 93–112. 4. For a comprehensive analysis of this phenomenon, see Hans Hayden, Modernismen som institution. Om etableringen av ett estetiskt och historiografiskt paradigm, Stockholm and Steehag, 2006. 5. Quotation in Charles Stuckey, »Minutiae and Rauschenberg's Combine Mode«, Robert Rauschenberg Combines, The Museum of Contemporary Art, Los Angeles, Los Angeles and Göttingen, 2005, p. 199. 6. Robert Rauschenberg, »Statement«, Sixteen Americans, Museum of Modern Art, New York, 1959, p. 58. 7. See Charles Baudelaire, »Le peintre de la vie moderne« (1863), Œuvres completes de Charles Baudelaire: L'Art romantique, (Édition critique par F.-F. Gautier), Paris, 1923, pp. 222ff. 8. Ad Reinhardt, »Art as Art« (1962), in Barbara Rose (ed.), Art-as-Art: The Selected Writings of Ad Reinhardt, Berkeley and Los Angeles, 1991 (1975), p. 53. 9. Branden W. Joseph, Random Order: Robert Rauschenberg and the Neo-Avantgarde, Cambridge (Mass.) and London, 2003, p. 162. The problems of interpreting the work of Rauschenberg in terms of disguised symbolism and iconographic programs was noticed already by Nicolas Calas in his essay »ContiNuance: On the Possibilities of a New Kind ofSymbolism in Recent American Art«, Art News, No. 10, Vol. 57, February 1957, p. 38ff. 10. John Cage, Silence: Lectures and Writings by John Cage, London and Hanover (NH), 1998 (1961), pp. 99, 101, and 108. 11. Leo Steinberg, »Other Criteria« (1968), Other Criteria: Confrontations with Twentieth-Century Art, London, Oxford, and New York 1975 (1972), pp. 82ff. 12. Umberto Eco, The Open Work, (transl. Anna Cancogni), Cambridge (Mass.) 1989 (1962), pp. 1–23. 13. This piece and its legendary first performance by David Tudor at the Maverick Concert Hall, Woodstock, 29 August 1952, has been described and analyzed by a great number of different authors, see for instance Torsten Ekbom, Tatlins torn och andra texter, Stockholm, 1986, pp. 33–37; and David Revill, The Roaring Silence: John Cage: A Life, New York 1992, pp. 164–167. 14. See Cage, 1998, pp. 260–273; and Richard Kostelanetz, Conversing with Cage, New York, 1988 (1987), pp. 188ff. 15. Revill, 1992, p. 189. 16. As a lecturer at Black Mountain College in the late forties and early fifties and the New School in New York 1956–1960, Cage was in a position from which to communicate his aesthetics to a broad network of artists, dancers, musicians, actors, and authors. These people also took part in each others’ performances and exchanged ideas across the borders of each specific media, a cross-fertilization that manifested a radical antithesis to the strong and well-established tendency of medium-specificity in the postwar American art world. Cage formally taught »experimental composition« at the New School, but his teaching consisted of a colloquium of information and discussions on contemporary aesthetic forms and »alternative« historical sources (i.e., Dadaism and Surrealism), in which students from different art forms participated on equal terms. Among the more prominent of his students, from an art historical perspective, were Allan Kaprow, George Brecht, Dick Higgins, George Maciunas, and Alison Knowles (see Bruce Altshuler, »The Cage Class«, in FluxAttitudes, Hallwalls Contemporary Art Center, Buffalo 1991, pp. 17–23). On the exchange between different art forms and media in this context, see Barbara Haskell, Blam! The Explosion of Pop, Minimalism, and Performance 1958–1964, Whitney Museum of American Art, New York, 1984, pp. 22ff.) 17. Rosalind Krauss, »Rauschenberg and the Materialized Image« (1974), in Branden W. Joseph (ed.), Robert Rauschenberg, October Files 4, Cambridge (Mass.) and London, pp. 40ff. 18. Craig Owens, »From Work to Frame, or is there Life after >the Death of the Author < ?«, in Lars Nittve (ed.), Implosion: A Postmodern Perspective, Moderna Museet, Stockholm 1987, p. 208. 19. James Elkins gave a speech on this fascinating topic entitled »What is Visual Literacy?« at the Department of Art History, Stockholm University, 6 November 2006. Currently he is preparing the publication of an anthology with texts from a conference entitled »First International Conference on Visual Literacy«, organized at University College Cork, 14–16 April 2005. 20. Keith Moxey, »Nostalgia for the Real: The Troubled Relation of Art history to Visual Culture«, The Practice of Persuasion: Paradox and Power in Art history, Ithaca and London 2001, pp. 103–123.
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