Beskrivning
Moderna Museum, Stockholm. 1962 ((Moderna Museets utställningskatalog. Nr 22). 88 pages, 52 b/w & 2 colour illustrations. (25 x 18 cm). English brochure. Cover printed in grey and red with hand-painted lettering by P. Hultén. Top of spine is chipped. Text and illustrations on art paper. This catalogue, which was lavishly produced for the time contains numerous statements by the artists involved and texts by art critics. The covers were folded by employees of the Moderna Museet themselves in a special campaign and glued into the catalogues. (Lutz Jahre 10 – 1962).
Pontus Hultén prepared the Swedish contribution to the São Paulo Biennale in 1959 and travelled to New York for the occasion, where he met Rauschenberg, Johns, Leslie, Stankiewicz and other artists. At that time, New York was considered the liveliest art metropolis. Abstract expressionism had established itself there and pop art was emerging. Hultén wanted to show these young developments in Europe. The exhibitions ”4 amerikanare” (1962) and ”Amerikansk pop-konst” (1964) were held.
The Swedish public reacted with dismay and amusement to the works on display. The show was discussed lively in the press. Rauschenberg’s assemblage ”Monogram”, a stuffed goat wearing a car tire around its body, provoked outrage. In a radio broadcast, a professor from Lund even protested against the fact that a live goat was being exhibited. Pontus Hultén asked the artist to keep the work for the museum until he had enough money to buy it. Three years later, the Moderna Museet was able to buy ”Monogram” for its collection. Also on display was Rauschenberg’s ”Bed”, which was removed from the exhibition at documenta II in 1959 shortly before the opening because it seemed too aggressive and direct and was also difficult to integrate into the hanging. Just a few years later, in 1964, Rauschenberg was awarded the Grand Prize at the Venice Biennale and was thus widely recognized as an artist.
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