2845. FOLLOWING MATERIALITY- Ibid., 52.
- L. Steinberg and R. Rauschenberg 2000, Encounters with Rauschenberg (Chicago: Uni-
versity of Chicago Press). - Ibid., 54–57.
- R. Hughes 1981, The Shock of the New (London: Thames and Hudson), 335.
- J. Saltz 2005, “Our Picasso?” Artnet, h t t p : / / w w w. a r t n e t. c o m / m a g a z i n e u s / f e a t u r e s / s a l t z
/saltz1 -11 -06 .asp. - Steinberg and Rauschenberg 2000:57.
- A. Danto 1997, “Robert Rauschenberg,” Nation, November 17, 32.
- R. Krauss 1997, “Perpetual Inventory,” in W. Hopps and S. Davidson, Robert Rauschen-
berg: A Retrospective [exhibit catalog] (New York: Guggenheim Museum), 125. - R. Cranshaw and A. Lewis 1981, “Re-reading Rauschenberg,” Artscribe, no. 29
(June): 47. - In this context the western viewer has been trained to treat this utopianist distancing
from the real object as an invitation to the gateway of symbolism. Thus the body of a
naked woman sculpted in marble or painted in oil no longer is the body of a naked
woman per se; it has been already transformed into an idea. And if the historical/cul-
tural context is precisely outlined, we are confronted by a nude, most likely a Venus—
the naked female body leaves its materiality behind to stand in as the emblem of pure
love. In line with this trajectory, the prologue of this book focuses on the unconven-
tional and shocking realism of Degas’s Little Dancer Aged Fourteen. This artistic para-
digm has been constructed and explored by artists since then, yet art historians persevere
in ignoring its ability to link what is visible in the gallery space with what is invisible
outside of it. - D. J. Haraway 1991, Simians, Cyborgs, and Women: The Reinvention of Nature (Lon-
don: Routledge). - R. Rauschenberg and B. Rose 1987, An Interview with Robert Rauschenberg (New York:
Avedon), 58. - L. Bryant 2011, The Democracy of Objects (Ann Arbor: Open Humanity).
- Steinberg and Rauschenberg 2000, 58.
- M. Fried 1967, Art and Objecthood: Essays and Reviews (Chicago: University of Chicago
Press, 1998), 125. - H. Foster 1996, The Return of the Real (Cambridge: MIT Press), 163.
6. THE ALLURE OF THE VENEER
W. J. T. Mitchell 2005, What to Do with Pictures? The Lives and Loves of Images (Chicago: Uni-
versity of Chicago Press), 112; G. Harman 2005, Guerrilla Metaphysics: Phenomenology and
the Carpentry of Things (Chicago: Open Court), 54.
- D. Ziogos 2015, “Reminiscence of an Unprocessed Leather Technician,” in Agrimiká:
Why Look at Animals? (Milan: Postmedia), 91.