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A Street Full of Presents. New York, October 1961

This is also true for Rauschenberg’s latest works, and for these even more so. Their atmosphere seems to be at once more concentrated and thinner, clearer. The transformation of the material is more powerful than ever. Yet the works are substantially more assertive and unequivocal: a few simple parts, boxes, wheels, chains, rugs, bits of rope, bricks, boards, and rods. Normally, freestanding objects that can be experienced in the round should be less suggestive and illusory. This is unusual in Rauschenberg’s work. The earlier stereoscopic works have most often been like four-sided paintings, advertisement pillars. Nonetheless, all sorts of object-making have been common lately in the United States. Rauschenberg’s visit to Europe this year (his first since 1953), particularly his contact with Tinguely, seems to have inspired Rauschenberg to work more sculpturally. At the same time, Tinguely, with works such as his spastic mobile in »Art in Motion«, seems to be approaching Rauschenberg. Billy Klüver emphasizes this. RAUSCHENBERG: Well, I’m the one swiping back from Tinguely, because in 1959 Tinguely made his selfdestroying machine using ideas he had gotten from Stankiewicz and me, thereby definitively abandoning the delicate, geometric, motorized reliefs. In my case, after my trip to Europe, I also had an intense interest in coarse material, in the physical experience of hammering, pressing, prying, tearing. Like coming home from a long trip and being caught up in the passion, hugging your sweetheart a little too hard.