Julie Martin will present films and film fragments that document the performances Robert Rauschenberg created in the 1960s: Pelican, Map Room II, Open Score, and Urban Round. The presentation will be followed by a discussion.
All Sundays on Broadway events begin at 6:00 pm. Doors open at 5:45 pm at WeisAcres. Keep in mind, this is a small space. Please arrive on time out of courtesy to the artists.
Sundays on Broadway events are free and open to the public.
Robert Rauschenberg’s art has always been one of thoughtful inclusion. Working in a wide range of subjects, styles, materials, and techniques, Rauschenberg has been called a forerunner of essentially every postwar movement since Abstract Expressionism. He remained, however, independent of any particular affiliation. At the time that he began making art in the late 1940s and early 1950s, his belief that “painting relates to both art and life” presented a direct challenge to the prevalent modernist aesthetic.The celebrated Combines, begun in the mid-1950s, brought real-world images and objects into the realm of abstract painting and countered sanctioned divisions between painting and sculpture. These works established the artist’s ongoing dialogue between mediums, between the handmade and the readymade, and between the gestural brushstroke and the mechanically reproduced image. Rauschenberg’s lifelong commitment to collaboration—with performers, printmakers, engineers, writers, artists, and artisans from around the world—is a further manifestation of his expansive artistic philosophy.This text was adapted from an essay written by Julia Blaut, “Robert Rauschenberg: A Retrospective,” @Guggenheim (Fall 1997).
Born in Nashville, Tennessee, in 1938, Julie Martin graduated from Radcliffe College with a BA in philosophy and received a Masters degree in Russian Studies from Columbia University. In 1966 she worked as production assistant to Robert Whitman on his theater performances, culminating in 9 Evenings: Theatre & Engineering in October 1966, that led to the founding of the Experiments in Art and Technology (E.A.T.). She joined the staff of E.A.T. in 1967, and over the years worked closely with Billy Klüver on projects and activities of the organization.
In recent years she has worked as coordinating producer for Robert Whitman on his performances. Currently she is Director of E.A.T. and Executive Producer of a series of films on DVD that document each of the ten artists’ performances at 9 Evenings. She is editing a book on the art and technology writings of Billy Klüver.