Robert Rauschenberg on tour in 1964 and the early globalization of the art world.In 1964, Robert Rauschenberg, already a frequent transatlantic traveler, became even more peripatetic, joining the Merce Cunningham Dance Company as costume and set designer for its first world tour. Rauschenberg and the company visited thirty cities in fourteen countries throughout Europe and Asia. During the tour, he not only devised sets and costumes but also enacted his own performances and created works of art, often using local materials and collaborating with local art communities.In The Great Migrator, Hiroko Ikegami examines Rauschenberg's activities abroad and charts the increasing international dominance of American art during that period. Unlike other writers, who have viewed the export of American art during the 1950s and 1960s as another form of Cold War propagandizing (and famous American artists as cultural imperialists), Ikegami sees the global rise of American art as a cross-cultural phenomenon in which each art community Rauschenberg visited was searching in different ways for cultural and artistic identity in the midst of Americanization. Rauschenberg's travels and collaborations established a new kind of transnational network for the postwar art world―prefiguring the globalization of art before the era of globalization. Ikegami focuses on Rauschenberg's stops in four cities: Paris, Venice (where he became the first American to win the Grand Prize at the Venice Biennale), Stockholm, and Tokyo. In each city, she tells us, Rauschenberg's work encountered both enthusiasm and resistance (which was often a reaction against American power). Ikegami's account offers a fresh, nonbinary perspective on the global and the local.

The Great Migrator: Robert Rauschenberg and the Global Rise of American Art

Arts & Photography

Ikegami, Hiroko

History & Criticism

Mit Pr

Robert Rauschenberg on tour in 1964 and the early globalization of the art world.
In 1964, Robert Rauschenberg, already a frequent transatlantic traveler, became even more peripatetic, joining the Merce Cunningham Dance Company as costume and set designer for its first world tour. Rauschenberg and the company visited thirty cities in fourteen countries throughout Europe and Asia. During the tour, he not only devised sets and costumes but also enacted his own performances and created works of art, often using local materials and collaborating with local art communities.
In The Great Migrator, Hiroko Ikegami examines Rauschenberg's activities abroad and charts the increasing international dominance of American art during that period. Unlike other writers, who have viewed the export of American art during the 1950s and 1960s as another form of Cold War propagandizing (and famous American artists as cultural imperialists), Ikegami sees the global rise of American art as a cross-cultural phenomenon in which each art community Rauschenberg visited was searching in different ways for cultural and artistic identity in the midst of Americanization. Rauschenberg's travels and collaborations established a new kind of transnational network for the postwar art world―prefiguring the globalization of art before the era of globalization. Ikegami focuses on Rauschenberg's stops in four cities: Paris, Venice (where he became the first American to win the Grand Prize at the Venice Biennale), Stockholm, and Tokyo. In each city, she tells us, Rauschenberg's work encountered both enthusiasm and resistance (which was often a reaction against American power). Ikegami's account offers a fresh, nonbinary perspective on the global and the local.

Surveys the fifty-year career of the avant-garde artist Ushio Shinohara. This catalogue, accompanying the exhibition of the same title at the Samuel Dorsky Museum of Art at SUNY New Paltz (August 29 through December 16, 2012), examines the fifty-year career of Ushio Shinohara, an indispensable player in the field of global contemporary history. Born in Japan in 1932, Shinohara was an enfant terrible of the Tokyo avant-garde art scene in the late 1950s with his “action art.” During the 1960s, he went on to invent such signature series as Boxing Painting, Imitation Art, and Oiran. After his move to New York in 1969, he continued with his versatile image-making endeavor, with Motorcycle Sculpture and drawings of street scenes, among other series. Taken together, this volume narrates a story of the inventive, imaginative, and skillful image-maker that is Ushio Shinohara.

Shinohara Pops!: The Avant-Garde Road: Tokyo / New York (Samuel Dorsky Museum of Art)

Tomii, Reiko

Distribution Partners

New York

Murray, Susan

DINE, Jim

Sackeroff, Sam

Rock, Michael

Corti, Maria

Gould, Claudia

Slifkin, Robert

Celant, Germano

Parsons, Kristina

Bauman, Emily

Bennahum, Ninotchka D.

Buonocore-nedrelow, Jennifer G.

Casa, Olivia

Conconi, Laura

Cook, J. English

De Lacaze Mohrmann, Michaëla

Javacheff, Christo V.

Guild, Joshua B.

Hirsch, Liz

Serby, Benjamin

Sichel, Jennifer

Jewish Museum, New York, And Skira Editore

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