Art &Technology
- Pop Art - Rauschenberg

Rauschenberg can be seen as the link between Abstract Expressionism and Pop Art. The major difference between Abstract Expressionism and Pop Art is that Abstract Expressionism looked inside the artist for the raw material of art, and Pop Art looked to the outside world of advertising, celebrities and the media. It became clear to Pop Artists that popular culture itself had begun to dominate the mind of America, and needed to be explored as subject matter in art.

Robert Rauschenberg: Bed. 1955

Fig.: Robert Rauschenberg: Bed

In Rauschenberg's work in the mid 1950s, he began to combine everyday objects with his painting. These works were part painting and part sculpture. They represent a unique combination of styles that was truly his own.

It was the mixture of American and European art seen in New York's galleries and museums that provided the foundation for Rauschenberg's original contributions. Even though he reacted against some of the techniques and clichés of Abstract Expressionism, he did incorporate elements of the style in his work.


Robert Rauschenberg: Dylaby. 1962

Fig.: Robert Rauschenberg: Dylaby

In August of 1962 Willem Sandberg, director of th Stedelijk Museum met Jean Tinguely, Daniel Spoerri and Pontus Hulten to realize an old idea for a project considered to be a Exposition happening with different artists working together on a dynamic labyrinth redirecting the attraction of the visitors permanently. The name for this project was "Dylaby". The exhibition concept was to set up a parcour where many artists should expermint with various experiences of space, sound, light and smell. Daniel Spoerri built a room, where mobiles and static objects were rotated by 90 degrees to make the visitors feel as if they had lost their orientation. In another room the visitors entered a situation resembling a beach with beach-goers, plastic pools, juke boxes and neon signs. The room of Niki Saint Phalle was totally silent and exhibited quasi-prehistoric paintings. Per Olof Ultvedt and Robert Rauschenberg designed ecological environments. The last room in the sequence, which was conceived by Tinguely, contained extremely powerfull ventillators. The word "Dylaby" was written on the wings of the fans.