This month, MIT publishes The Great Migrator: Robert Rauschenberg and the Global Rise of American Art by Hiroko Ikegami.
The book was supported by a Wyeth Publication Grant from CAA. An article, “An American Spectacle: Reconsidering the 1964 Venice Biennale” appeared in issue 162 (2007) of BIJUTSUSHI: Journal of the Japan Art History Society. The author’s 2007 Yale dissertation, “Dislocations: Robert Rauschenberg and the Americanization of modern art, circa 1964,” was cited by Reiko Tomii in “‘International Contemporaneity’ in the 1960s: Discoursing on Art in Japan and Beyond” [PDF], Japan Review 21 (2009), pp. 123-147.
The Smithsonian American Art Museum held a 2009 symposium, “‘A Long and Tumultuous Relationship’: East-West Interchanges in American Art” [PDF program], including a paper by Ikegami, “ROCI in East: Considering Rauschenberg’s Agency in China.”
Also Laurie Monahan, “Cultural Cartographies: American Designs at the 1964 Venice Biennale,” in Serge Guilbaut, ed., Reconstructing Modernism (MIT, 1990), pp. 369-415, and “The new frontier goes to Venice : Robert Rauschenberg and the XXXII Venice biennale” (MA thesis, UBC, 1985).