Posts Tagged ‘Bobby Kennedy’

The Manifesto of Thompson Hotels

Sunday, May 10th, 2009

A mission statement spells out a company’s overall purpose and provides a sense of direction to decision making.  Among other things, it defines what the organization aspires to be.

The other day a friend sent me a link to a curious document that fits the general notion of a mission statement, although this one is labeled a “Manifesto.”  It also fills up an entire page, making it wordier than the run-of-the-mill mission statement.

The Manifesto was generated by Thompson Hotels, a wholly owned subsidiary of a privately held real estate development firm named The Pomeranc Group.  In 2007 the New York Times profiled the company’s entry into the world of boutique hotels.  The firm’s growing portfolio now includes nine hotel properties.

If you go to Thompson Hotels’ black-backgrounded homepage at http://www.thompsonhotels.com you’ll be faced with a flashing series of quotations.  Featured are the words of luminaries such as Che Guevara, Bob Dylan, Jean-Luc Godard, Federico Fellini, Oscar Wilde, and Jean Baudrillard.  I noticed that in the hotelier’s talky firmament, the French post-structuralist Baudrillard’s star shines brightest.  Two of his bons mots are offered for your delectation.  Meanwhile, in the background, hip music is heard.  An infinitely repeating loop plays a medley of eight instrumental selections, each abbreviated to 30 seconds.   The overall mood?  Retro groovy.  I felt smothered by an über trendy ooze.

If you visit the homepage, and I recommend you do, be sure to click on the word “MANIFESTO” found in the top border.  Or access the manifesto directly, here.  On that page you’re invited to test whether your personal identity matches the profile of an ideal guest as conceived by the hotel owners.  Here is the text of the Manifesto:

_________________________________________________________

Dear Guest,

In a world full of choices, we all need to question who we are and where we belong.

We set out to create a group of hotels that are effectively sophisticated and classically cool but small enough to provide personal service. Thompson Hotels are contemporary and elegant with an element of edge and surprise. At Thompson Hotels we believe there’s a place for refined, intimate style in a world of overly dressed up mega brands. We are not trendy boutique hotels. Our style is simultaneously timeless and avant-garde.

Who are our guests? Bohemian chic meets art-house-wise meets quiet yet radical elegance; really more of a mind-set than a demographic… “good looking revolutionaries.”

We wish we had known: Steve McQueen, Bobby Kennedy, Mick Jagger in 1973, Grace Kelly, Jean-Luc Godard, Edie Sedgwick and the fictional Royal Tenenbaums.

You’ll find us watching Darko, Eternal Sunshine of the Spotless Mind, Coffee and Cigarettes, Badlands, Blow Up, Le Mans. Or listening to The White Album, the Sex Pistols, Sinatra and we don’t pick sides between the East Coast and the West Coast.

We collect Hiroshi Sugimoto photographs, vintage Zippo lighters, matchbooks from cafes, quotes and one day, Basquiat.

We are a tribe, nomadic in nature joined by common threads. We are driving up the coast to a life of epic adventures… “It’s an anywhere road for anybody anyhow… but no matter the road is life”: Jack Kerouac.

See you soon,

TH

p.s. we will keep all your secrets and promises.

________________________________________________________

The term “fisking” is blogosphere slang for a point-by-point criticism of a statement, article or essay.  The fisking process involves questioning the analytical framework of the text and highlighting perceived errors.  It values close scrutiny, so the dissection usually proceeds sentence-by-sentence or paragraph-by-paragraph.  After reading the Thompson Hotels Manifesto, I thought, “Now there’s a document begging for a good fisking!”  I’m not sure I’m the man for the task, but what the heck, it’s worth a try.  Below is my token gift to art-house wise-asses everywhere.  Especially those who, due to their good judgment or bad finances or both, are destined never to find themselves embedded in a Thompson Hotel.

Caveat: It is possible the Manifesto is a small hoax, a put-on, a tongue-in-cheek bit of cheekiness designed to separate those who get it from those who don’t.  By the same token, maybe my text below is too.

So.  Now vee may perhaps to begin.  Yes?

In a world full of choices, we all need to question who we are and where we belong.

Come on, confess.  When you read that first sentence, sounding so eerily like an invocation, an invitation to prayer, you sensed a spiritual touch, did you not?  Maybe a tingle of  déjà vu ? Oops!  Lo and behold, the sentiment does fit nicely on a Church Sign:

church-sign1

.

We set out to create a group of hotels that are effectively sophisticated and classically cool but small enough to provide personal service. Thompson Hotels are contemporary and elegant with an element of edge and surprise.

Having established in the reader’s mind the notion of sanctuary, of a time and place for spiritual self-evaluation, the authors of the Manifesto decided to drop that idea cold.  Instead, it’s full steam ahead!  On to a relentless chug-chug-chug of words!  The modus operandi is simple.  Throw down words and phrases in hopes that something coherent will emerge.  The document becomes an onslaught of adjectives, adverbs, oxymorons and proper names.  Scatter shot onto the page, you watch them pile up into an enervating mass.  You encounter novel compounds (“effectively sophisticated”) as inert as the arbitrary pairings formed when kids fiddle with Magnetic Poetry words on a refrigerator door.

But let’s move on to the next bit of nonsense.

At Thompson Hotels we believe there’s a place for refined, intimate style in a world of overly dressed up mega brands. We are not trendy boutique hotels.

I like how a simple declarative sentence (“We are not trendy …”) stands out amidst the lazy mush (“overly dressed up mega brands”).  It turns out this defensive crouch (“We are not!”) has a back story:  one of Thompson Hotels’ co-owners has been quoted elsewhere as saying, “If you call us a boutique hotel chain, I’m going to scream.”  He prefers the term, small luxury hotel group.  The reason has something to do with branding and status.  But I am not Winston Smith (nor was meant to be) and shall not revise my text.

The term “Boutique hotel”  is commonly used to describe intimate, usually luxurious or quirky hotel environments — exactly the environment the Manifesto, however clumsily, purports to describe.  Check out Wikipedia’s article on the “boutique hotel” phenomenon for a consensus understanding of the term. The unavoidable fact is that these hotels are inherently trendy, occupying a segment of the industry characterized by constant churn, where players forever chase the next wave.

Historically, boutique hotels (sometimes also known as “design hotels” or “lifestyle hotels”) began appearing in the 1980s in trend-setting neighborhoods of London, New York, and San Francisco.  Typically, boutique hotels are furnished in a themed, stylish and/or “aspirational” manner.  The mission, the raison d’être, of Thompson Hotels is to participate profitably in this trend.

When responding to an absurd assertion, I often find it useful to summon the the clarity of the French.  What’s the best way to view a trendy Manifesto eschewing trendiness?  Comme ça:

magritte-ceci-nest-pas-une-pipe-1

Though not as deft as Magritte playing with the way we attribute significance to images, the Manifesto does serve the purpose of highlighting a complicated relationship between the company’s self-definition and reality.

Our style is simultaneously timeless and avant-garde.

Reading this sentence, I was momentarily intrigued.  I like timeless.  On occasion I also like avant-garde.  The Manifesto brings them together again for the first time.  What’s not to like?  Should I worry about how stable the marriage is?  No, for the moment I’m willing to play along, especially since the sentence sparks a frisson. There’s an echo of T.S. Eliot’s Four Quartets.  In “Burnt Norton,” the first segment of that magisterial poem, Eliot posits:

Time present and time past

Are both perhaps present in time future,

And time future contained in time past.

If all time is eternally present,

All time in unredeemable.

Along those lines, did you notice the verse from Hebrews 13:8 on the Church Sign, above?  Jesus is the same yesterday and today and tomorrow.  The Manifesto promises your stay at a Thompson Hotel will be just like that too! Heavy, man.  Could be heavenly, too.  But this has got my head spinning.

I know once reason returns I will understand there is no way to halt what The Bard called “time’s fell hand” — especially not in the trendy business of boutique hotels.  After all, we’re talking about an industry in which a Thompsons Hotels co-owner cited with amazement the extraordinary “longevity” of an employee who’s been with the firm a whopping six years!  There are reports the company’s Gild Hall location in lower Manhattan (open for less than two years) is slated for a style makeover, as its star restaurateur is being replaced.  The company used to boast about its free Wi-Fi, but this year reversed its stance in favor of charging guests an extra $10.00 a day.

Timeless?  I report, you decide.

But take heed.  Clouds approach.  Pretentious gobbledygook lies straight ahead.

Who are our guests? Bohemian chic meets art-house-wise meets quiet yet radical elegance; really more of a mind-set than a demographic…

I was going to point out hyphenation flaws and other nits throughout the Manifesto (for those interested, a useful hyphen guide is found here; don’t say you’re learning nothing from this post).  But the prospect of correcting wrong notes in this Bohemian rhapsody reminded me of the scene in Basic Instinct when Michael Douglas (Detective Curran) comes upon the injured George Dzundza (Gus), who’s been attacked with an ice pick.  Curran tentatively applies a finger to block the bleeding from Gus’s neck.  But then he notices, in a growing panic, the full extent of the punctures.  He quickly runs out of fingers to stanch all of Gus’s fatal wounds.

I know, I know — you’re still wishing that the chain of “blah-meets-blah-meets-blah” would meet up with a meat cleaver.  And I’m reminded that the “fisking” process compels me to propose a remedial measure.  OK, then.  Let’s add one more hookup to the chain: Bohemian chic meets art-house-wise meets quiet yet radical elegance meets Freddy Krueger.

(Really more of a cathartic comeuppance than in your fondest dreams.)

“good looking revolutionaries”

Yes, Thompson Hotels defines its preferred clientele as persons who qualify as good looking revolutionaries.

Where to begin?  Smug, self-satisfied, and fatuous, this loose phrase sinks into a swamp of cynicism.  The concept of “good looking revolutionaries” belongs to a place where prices are known and values ignored.  Where everything is superficial, cosmetic, trivialized, reduced to fashion.  As for the not pretty faces and imperfect bodies of today’s equivalents of, say, Emma Goldman, Benjamin Franklin, Albert Einstein, Francis Crick, Betty Friedan, Balzac, Gandhi?

Oh for God’s sake, we don’t want the likes of them spoiling our hotels.

We wish we had known: Steve McQueen, Bobby Kennedy, Mick Jagger in 1973, Grace Kelly, Jean-Luc Godard, Edie Sedgwick and the fictional Royal Tenenbaums.

These appear to be the hotelier’s picks for the class of good looking revolutionaries.  The introductory clause (“We wish we had known …”) sets up the sad premise that these are folks no longer available to be known.  They’ve passed on.  They’re now guests at the Celestial Hotel.  Or, in the case of the still prancing Mick Jagger, his 1973-vintage incarnation (beautiful at age 30) cannot stroll through a Thompson Hotel lobby in 2009.

The prefatory language also presupposes that the persons cited were all once capable of being known, i.e., their feet once trod the earth.  News Flash:  Fictional characters, such as members of the Tenenbaum family, the clan given cinematic life by writer-director Wes Anderson, were never in fact alive.  Trust me on this.  If “we” harbor a desire to commune with fictional beings, the first thing to do is to express that desire using different rhetoric.  For example:  “I wish Holden Caulfield were a real person so that I might have a chance to talk with him.”

The second thing is, “we” need to schedule an appointment with a therapist.

You’ll find us watching Darko, Eternal Sunshine of the Spotless Mind, Coffee and Cigarettes, Badlands, Blow Up, Le Mans. Or listening to The White Album, the Sex Pistols, Sinatra and we don’t pick sides between the East Coast and the West Coast.

An orgy of mid-cult name-dropping, these selections sound like a basket of DVD’s and CD’s that Charlie the Tuna might gather for his undersea lair.  To prove his eclectic good taste.

Note the strangely truncated name (“Darko”) applied to writer-director Richard Kelley’s 2001 film, Donnie Darko. A Google search uncovers no evidence of actual people — whether they qualify as good looking revolutionaries or not — using the name “Darko” when discussing that movie.  Maybe Thompson Hotels is trying to start a new trend?  Say it ain’t so.

Next, notice the boast, “You’ll find us watching . . . Blow Up.”   Hmmmm.   It’s at this point that the needle on the Creepy-o-Meter starts to dance.  Remember, this is a Manifesto presumably concocted by sophisticated advertising copywriters (correction: make that effectively sophisticated copywriters), then reviewed and approved by company management, one of whom promises to “scream” if confronted with words or terms he finds inaccurate.  This means the Manifesto cannot be referring to the 1966 Michelangelo Antonioni film, “Blowup”.  As shown in the screen credits (one frame of which is below), the title of Antonioni’s film is one word.  While it is true the title appears hyphenated on some promotional and packaging material (as in the poster further below), it is never correct to render the title as two separate words.

blowup-screen-credits

blowup-antonioni1

blow-up-dvd-cover

Assume, then, that the Manifesto’s reference to a “Blow Up” signals something else.  What might that be?  One clue is that this “Blow Up” is something that can be “watched.”  More particularly, it is something that you will find “us” watching.  So let’s take a step back and ask, who are the “us”?  Remember, the Manifesto is addressed to an anonymous “Guest” and is signed by “TH.”  So “us” likely is the hotel itself, as represented by its owners, managers and staff.  Or does “us” refer to the hotels’ guests?  Or to both groups?  What are they watching when they watch this thing called a — or the— Blow Up?  An act of violence involving an explosion?  A sex act?  Both?  Maybe posting a third quotation from Baudrillard would help readers solve the puzzle?  We must work through the night to find the answer; otherwise, I fear grave consequences.  Dawn may expose a pale, naked Manifesto, shorn of its raiments of erudition; a document written, edited and approved by a cadre of folks who, notwithstanding their air of knowingness, in the final analysis are (yes, it pains me to type the sentence’s final word, even though its etymology is French) poseurs.

We collect Hiroshi Sugimoto photographs, vintage Zippo lighters, matchbooks from cafes, quotes and one day, Basquiat.

More trendy brand names and other detritus.  Spare me.  This recalls a short-lived literary trend of a few decades ago, led by a set of young novelists.  They wrote prose with copious references to trendy high-end consumer goods, discos, real life celebrities, and other pop culture stuffing.  Their theory was that in our consumerist society, what you eat, wear, listen to, where you go clubbing, how you furnish your apartment, the famous people you encounter — all of that stuff taken together equals your identity.  Therefore, a list of a fictional character’s recent purchases would be a valid shorthand way to construct in the reader’s mind a fully-formed fictional personage.  The Manifesto shares this bleak and shallow world view.  It tacitly endorses the notion that you are what you consume.

In the present text, I was glad to find a soupçon of wisdom hidden in the final words of the sentence:  “… and one day, Basquiat.”  Implied are the principles of connoisseurship and deferred pleasure.  Collecting the work of Jean-Michel Basquiat demands maturity and a lot of groundwork.  Accumulating money, of course.  Finding a house or apartment with tall ceilings.  Most critically, developing a discerning eye — something especially important with an artist like Basquiat whose output was of notoriously uneven quality.  Assuming I’m not reading too much into those four words, the author deserves kudos for that little grace note.

We are a tribe, nomadic in nature joined by common threads. We are driving up the coast to a life of epic adventures… “It’s an anywhere road for anybody anyhow… but no matter the road is life”: Jack Kerouac.

True to form, a return to folderol.  I’m hoping you, dear reader, will join with me in announcing that we are growing bored by all the silly talk coming from this other “we.”  It occurs to me that you and I together are a “we” superior to the Manifesto’s “we.”  We possess largeness; the author of the Manifesto’s gotta wee “we.”

(The silliness is spreading.)

As for the tribal and nomadic references, I defer to another reader of the Manifesto, a person known as “jr”.  He (or, if “jr” is initials, maybe she) left a comment back in May, 2008, on a blog named Harry’s Place, in response to a piece about the Manifesto.  The commenter looked at the document as a marketing effort:

I suspect the purpose of the marketing is to make you think you will be more lucky to fuck an equally desparate fellow guest at this hotel and not feel too seedy afterwards.  “We are a tribe, nomadic in nature and joined by common threads” means “we want some casual nooky and we’re not thinking too much about herpes.”

Was “JR” weirdly prescient?  In 2009, Alexander Wang’s limited edition designer condoms became available for purchase exclusively at Thompson Hotels properties.

p.s.  we will keep all your secrets and promises.

My secret, which is not much of a secret, is that I have never been mistaken for a good looking revolutionary (alas).  If you ask what I myself will keep, the answer is, I will keep my money — far away from the hands of Thompson Hotels.

That I promise.

Rauschenberg’s “Signs” – An Appreciation

Sunday, March 29th, 2009

This is the first piece of art I bought.  It’s a silkscreen print created by Robert Rauschenberg.  He titled it “Signs.”

 rauschenberg-signs-for-blog

 

Rauschenberg conceived of “Signs” as a summation of the 1960s.  The piece was an aborted commission for a magazine cover. Rauschenberg released the work in June, 1970, through his gallery affiliation, Castelli Graphics, in an edition of 250 signed impressions. 

The 60s had turned Rauschenberg into a politically engaged artist, and he probably welcomed the challenge of coming to terms with a decade of seering experiences.  Exercising his natural affinity for collage, he would try to make sense out of an explosive arc of events that most observers felt defied all sense.  Raushenberg said the print “was conceived to remind us of love, terror, violence of the last ten years.  Danger lies in forgetting.”

I see “Signs” as an achievement at once topical and timeless.  Topical, obviously, since the artist has brought together a dozen immediately recognizable 60’s images — photos that were then still fresh with pain and joy.  Topical in a slightly broader manner as well, since the picture serves to encapulate the baby boomer generation’s creation myth.  But timeless also, thanks to the artist’s genius in re-fashioning stark images into something whole, something coherent, something aspiring to the redemptive.  

“Signs” belies the rap too often laid on Rauschenberg — that he surrendered to an aesthetic of “messiness.”  I was surprised to find such trash talk being repeated by the perceptive Louis Menand in his recent essay on Donald Barthelme, a modernist author who, Menand argues, boldly borrowed Rauschenberg’s collage approach, and with it made a notable contribution to literature.  (The article, “Saved From Drowning; Barthelme Reconsidered,” appeared in the February 23, 2009 issue of The New Yorker, available online here.) 

Distinguishing Rauschenberg’s methods from those of previous collagists, Menand makes the following assertions:  “[T]raditional collage arranges fragments into a form, and Rauschenberg’s collages are not organized in any ordinarily legible manner.   …  Most of Rauschenberg’s work … has no center.  Form, in the conventional sense of a hierarchical order, is one of the things he is trying to eliminate.”  Menand sees Rauschenberg’s signature work as embracing “the  illogic . . . the apparent absurdity . . . the arbitrary juxtapositions of radically disparate materials.” 

My purpose in this post is not to quibble with Menand’s characterizationHis article focuses on style, not on the decipherment of any particular work of visual art.  And who can deny that “messiness”  nicely recapitulates the ’60s decade itself. 

Rather, my purpose is to celebrate Rauschenberg’s triumph over formlessness when constructing “Signs.”  I want to praise his decision not to echo chaos or succumb to absurdity. I want to show how he chose instead to commandeer art’s arsenal against entropy.

How did he do this?  Through compositional devices,  juxtapositions,  reconciliations, and slights of hand that are deft, resonant, poignant, and funny.  Logic, not illogic, informs this work of art.  It’s there for all to see:

Tripartite form:   I think even on first encounter the viewer senses both stability and energy in “Signs.”  A feeling of stability derives chiefly from Rauschenberg’s reliance on a structure of three vertical segments nestled in a rectangular confinement.  Up the left side we see a moon-walking Buzz Aldrin claiming a large chunk of space in the frame; above and behind Aldrin is a four-man Army jeep, and above and behind that is a candlelight peace vigil.  The right side is topped with another black-and-white photo, this one of students attending an anti-war teach-in (the left and right corners are nicely balanced).  Below this the artist has positioned a professional photo portrait of a visionary-looking John F. Kennedy, tucked beneath which are a few stills from the Zapruder film that captured JFK’s assassination.  Sandwiched between left and right flanks are puzzle pieces that rise like a totem pole.  Starting from the base, this central composition comprises five elements: (1) the body of Martin Luther King as he lay in state at the U.S. Capitol; (2) a fallen victim of an urban riot; (3) two Vietnam soldiers flanking and supporting a wounded comrade; (4) Bobby Kennedy in earnest oration; and (5) Janis Joplin in wild performance.  The five stations of this central vertical segment are strengthened by an overlapping and interweaving of its parts:  for example, two arms, one begging, one blessing, reach over MLK; RFK’s hand slices through the Vietnam scene, in a call to halt the bloodshed.

Hierarchical order:   This piece most definitely has a “center.”  The central totem is a well-ordered pillar of life, a hierarchy of energy, a flow of life force.  It begins in silence with a photo of MLK in his coffin, his blood stilled by death.  It steps up to the bloodied man fallen in an urban riot.  It rises next to a trio of troops, wounded, bleary, yet upright.  It climbs to catch Robert Kennedy in the middle of an impassioned but controlled speech.  It crescendos with the ecstatic singing of Janis Joplin.  Think of it also as a fountain of youth —  all of its featured players are young (MLK, 39; RFK, 42; Joplin, 27) —  but one tinged with irony.  Only a few months after Rauschenberg completed his composition and released it to the world, Janis Joplin, his friend and fellow escapee from Port Arthur, Texas, died of a drug overdose.  With that death, the vector of the totemic form was altered.  No longer an unstoppable upward force, it now circles back on itself.  It has become a circle of life. 

Cohesion through repeated motifs:  With the possible exception of eyes, the human organ or appendage most crucial to an artist is, I would argue, the hand.  “Signs” is largely a composite portrait, which means it is all about faces.  But to my eyes it is the hands in “Signs” that resonate most strongly.  Notice how Rauschenberg emphasizes their physical meaning while also teasing out their symbolic importance.  A hand may choose to grip a bayoneted rifle to control others, or hold a candle in a hopeful prayer, or grasp a tool of communication (a microphone) to express freedom.  A hand’s fingers may splay to signify peace or extend to confer a blessing over the dead.  Our pride in seeing the iconic image of an American astronaut standing on the lunar surface is tempered when we realize that the sole visible hand of Buzz Aldrin is, in fact, not visible at all.  The hand is protected, swaddled like a mummy, rendered uncommunicative, unlike the vulnerable but expressive hands of earthlings here below.  As for the “face” of America’s technological triumph, it too is so denatured by protective gear as to become literally a “faceless” achievement.  

Unifying  light:  The strong sun and shadow on Buzz Aldin’s space suit blend seamlessly with the other wholly disparate components of the assemblage.  Rauschenberg achieves compositional coherence by making two tears in the material, at the top and right edges, to reveal a white underlayer.  We “read” this exposure as the source of bright light unifying all parts of the composition.  In addition to its formal function, the light poignantly supplies a sacred nimbus around the late RFK’s head.  It may remind us of a painfully ironic fact:  in the 1960’s, men of heart were extinguished, one after another, by head wounds. 

Meaning through color, direction, and tilt:   To begin with the most obvious color cliche, Janis Joplin is red hot.  Then, in the upper left corner’s overlapped images, note how the intense color of the guards gives way to calmer gray tints of a time-hallowed prayer for peace.  Consider also the way in which the dull unlit eyes of the vehicle’s headlights are shamed by the insistent glow of lit candles.  See how the quartet of uniformed men looks left (symbolically toward the past), their eyes shrouded from view, while the lone female representative of the vigil crowd turns her face rightward to meet the future.   If you stare at “Signs” long enough may experience a mild case of vertigo, as there appears to be no pure vertical line anywhere in the composition, no steadying plumb line straight down to the earth.  With the possible exception of the central image of wounded troops, every component is tilted slightly, as if confounding gravity and the comfort of rest.  This floating quality is consistent with Rauschenberg’s practice, in art works he called “combines,” of eschewing a sense of up or down.  In “Signs,” I think these off-kilter notes lend energy and flow to the work.  This is an appropriate way to express a dynamic, unstable period.

Surface versus depth:  In their original condition, the dozen photos that Rauschenberg selected to fill the rectangle differed in their objectively measurable proportions, lighting sources, coloration, and focus, and many other inherent qualities — not to mention differences in the sensibilities of a dozen different photographers responsible for the images. There is every reason for the assemblage to fly off in all directions beyond the frame.  Yet somehow the pieces settle into position, inviting the viewer to proceed with decipherment.  One thing that locks the parts into place is a bit of legerdemain, namely, the appearance of a round, clear glass paperweight on the flattened surface plane, just to the right of Joplin’s microphone.  Its clever purpose is to arrest fugitive movement.  We also notice a scraped trail, yellow in color, leading up to the paperweight’s current resting place, suggesting that the weight recently migrated diagonally from a position atop the fallen riot victim, stopping atop Janis’s tossed hair — hair the large convex lens magnifies and swirls into a psychedelic hallucination.

Generosity of details:  After all these years there are parts of “Signs” that newly intrigue me.  I’ve mentioned the intricate interweaving of imagery in the central “totem” which required careful scissoring of figures; why then is the JFK photo the only one with a sharp right angled corner left intact?  Why no contouring, no integration of that photo?  And is that a snippet of a Lichtenstein pop art painting under the President’s nose?  What is the meaning of  the eleven blue dots in the lower right corner, traditionally the location for the creator’s signature?  Bullet holes?  Is it fair to say the decade was “signed” by gun violence?  

Irony and humor:   Ironic visual juxtapositions abound in Rauschenberg’s work.  Here, in the upper left a military jeep purports to escort a trailing “CONVOY,” while the only group that’s “FOLLOWING” is a peace vigil in repose.  Also on display is tongue-in-cheek ribaldry.  Note how RFK’s mouth, at a moment formed into a suckling shape, approaches Joplin’s breast.  The rectangle’s black border can sturdily contain every image, except for two forces that pierce the top margin: the thrust of a bayonet (does its violation of the skin of the piece account for the drops next to RFK’s hand?) and the force, like rising red molten lava, of a volcanic Janis Joplin.  In a final flourish, the artist asserts his dominance: small block letter initials — R.R. — resting on the bottom margin, are so powerful that their strength can lift up, and playfully tilt, a hero astronaut.

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“Signs,” screenprint (silkscreen, silk screen, screen print) in colors, 1970, signed in pencil, numbered [my impression is numbered 40/250] and dated, lower right, on wove paper, published by Castelli Graphics, New York, 35 1/4 by 26 5/8 inches; 895 by 677 mm.  Purchased from Makler Gallery, Philadelphia,  March, 1977.  I first saw the work not at a gallery but at a museum exhibition, the 1976 Rauschenberg retrospective exhibition staged at the Smithsonian’s National Collection of Fine Art (now the National Museum of American Art) in Washington, DC.  One room in the show was devoted to prints, one of which was “Signs.”  I was so bowled over by its power that I vowed to acquire an impression of the print, at whatever sacrifice it took.

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UPDATE 06-14-2009:  Today I came across a blog posting that provides additional background on the genesis of “Signs,” including key details that I believe had not previously been published.  According to an article posted on hamiltonselway.com on July 21, 2008, entitled “Rauschenberg – part 1,” the work was initially commission by Time magazine:

“’Signs,’ 1970, was originally created as an illustration for a Time magazine cover that would herald the 1970s. Rauschenberg felt, however, that the 1970s was really a continuation of the 1960s and inserted images of Janis Joplin, Martin Luther King, the moon landing, and the Kennedy Assassination. The cover was rejected by the Time Magazine editors who wanted to look forward to hopefully better times than the tumultuous 60s. Leo Castelli (Rauschenberg’s dealer at the time) stepped in and published a photosilkscreen edition of the collage.”

I’m struck by the joy expressed by Rauschenberg enthusiasts, as in this essay by John Haber on the occasion of the Rauschenberg retrospective in NYC over a decade ago: http://www.haberarts.com/rschberg.htm.   Can any other recent artist match him?