Bloch writes: "The 15 paintings, collages and objects borrowed from private collections for this exhibit, including four from Jasper Johns, show us just enough of that critical moment of Rauschenberg’s life to manifest a first hand experience of what it must have felt like to be bursting at the seams in the right place at the right time when, in his late 20s, he moved rapidly from one breathtaking innovation to another, setting the stage for his reputation to ripple out from this dusty downtown studio as a risk-taking challenger to the status quo. He was riding the waves that were churning in his own restless soul and the rough-hewn creative bounty here has a palpable excitement emanating from within the stillness of the industrial paint, paper scraps and found objects now living between the walls of this gallery, five and a half miles from where the work was originally created."
On the occasion of the exhibitions A Bigger Splash: Painting after Performance at Tate Modern (through April 1) and Explosion! The Legacy of Jackson Pollock at the Fundació Joan Miró (through Feb 24), Stephen Moonie considers the history of "painting and performance in relation to one another." He asserts that "it is evident that painting can no longer be taken for granted: instead it operates within an expanded field across and between media."
He concludes: "What is clear... is that performance and painting are closely intertwined, and that the relationship between the two works both ways: painting is not only a pathway into performance, but that many aspects of performance equally lead back into painting..."
Edited by artist Brett Baker, Painters' Table highlights writing from the painting blogosphere as it is published and serves as a platform for exploring blogs that focus primarily on the subject of painting.