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Robert Rauschenberg is famous for his freestanding and wall-hung "combine" (mixed-media) pieces created between 1954-64.
The Robert Rauschenberg Foundation fosters the legacy of the artist’s life, work, and philosophy. We increase access to Robert Rauschenberg’s art, offer a residency program, and support artists, initiatives, and institutions that embody the same innovative, inclusive, and multidisciplinary approach that Rauschenberg exemplified in both his art and philanthropic endeavors.
This thrilling retrospective gives us Rauschenberg whole, from his collages to his ballets to his own wild performances
Robert Rauschenberg is famous for his freestanding and wall-hung "combine" (mixed-media) pieces created between 1954-64.
From time to time I will recycle old posts that have gotten the most hits. Artist's on our blog heavily outweigh the style section and I'm ...
A Who's Who of '60s pop culture: Marilyn, Sinatra, Brando, the Beatles, Liz Taylor, Elvis, Brigitte Bardot, Natalie Wood and more.
"Overdrive" 1963 By Robert Rauschenberg. Robert Rauschenberg (October 1925 - May 2008) was an incredibly influential American painter, sculptor and graphic artist of the Pop Art movement, a contributer of abstract expressionism as well as being an inventor of new artistic reyclable materials. Born in Texas, Rauschenberg served in the U.S Navy during WWII. A keen enthusiast for self - expression he studied at Kansas city Art Institute, then onto the Academie Julian in Paris France. A wide varying media of materials included experimentation with print making, paper making, photography and performance. Rauschenberg spent most of his working life living in New York City. Rauschenberg's visionary involved rebuilding and bringing new life into old, worn everyday objects that he would discover on the streets of New York. These included urban decay and debris, and unwanted clothing. The objects and resources found would provide the foundations of his famous collage's. A collection of works under the "Red painting series" primarily focused on the application of striking bold red paint on canvas, in addition three dimensional materials were applied to enhance texture. Rustic and rough forms such as wood and nails provided a background to paint upon. Famous works include his iconography of modern day life, a prime example would be the 1963 "Overdrive" piece a recollection of urban America. The collage's medium consists of oil and silkscreen on canvas as well as graphic images that are symbolic of American culture, a 96 x 70 inch artwork. The landmark of the Statue of Liberty indicates America in all its glory. There are elements of juxtaposition for the majority of the left is purely white with the use of bird imagery indicating the calmness and tranquility of nature. On the right hand side there are bold indications of red, black and grey. Rauschenberg is famous for using abstract shapes and warm primary colours which convey emotion and self - expression. The font of the stop signs is striking for it sends a message which interlinks with the painting's overall title. Overdrive indicates working too hard, this foreshadows the chaotic modern working world, life movng too quickly. The use of the clock diagrams could also be considered an indicator of time. Rauschenberg's famous words were that the outcome of a piece is based on the "amount of intensity, concentration and joy put into it". "It is extemely important that art be unjustifiable". Robert Rauschenberg's artistic concept has greatly influenced other pop, conceptual late modern contemporary artists such as Andy Warhol and Roy Lichtenstein.
Rebus, 1955. Oil, synthetic polymer paint, pencil, crayon, pastel, cut-and-paste printed and painted papers, and fabric on canvas and stapled to fabric, three panels. (detail)
Jasper Johns, "Target", 1961. The Art Institute of Chicago, Gift of Edlis/Neeson Collection . CHICAGO - Douglas Druick, President and Eloise W. Martin Director of the Art Institute of Chicago, has announced the largest gift of art in the museum’s 136-year...
Robert Rauschenberg was a scamp artist, and I mean that in the most exuberant sense of the word. He saw beauty in the ordinary, envisioning the most h...
As a confirmed lover of everything grey, the Menil Collection down the street from the Rothko Chapel was like a dream come true. Even before we stepped inside the museum itself, everything around us was grey: the wooden bungalows in the tree lined street, and even the squirrels crowding around the door of the Twombly Gallery waiting for peanuts were grey grey grey. Renzo Piano’s building is grey, the carpet in the upstairs offices is grey and there is a surfeit of grey paintings on the walls. Of the many discoveries of the day in grey was an unknown (for me) Robert Rauschenberg painting: Gilder, from 1962. Gilder is painted in an interstitial period in Rauschenberg’s career: historically it sits between the works in a single color – black, white, and later, red – and the better known combines of the sixties and seventies. And, like most things in grey, this interstitial status is translated into stasis, disinterest, and on the way to something else, not of great significance in and of itself. Works such as Gilder have not attracted the attention of better known ones. perhaps for this reason. Of course, they haven’t, they are executed in grey. Gilder sits on a wall, appropriately, opposite Rauschenberg's flamboyant and loud Holiday Ruse (Night Shade), 1991, an enormous "acrylic and tarnishes on Aluminium", and one of Warhol’s grey screenprints, Little Race Riot, from 1962. Gilder’s place on the walls of the Menil reflects other aspects of its identity. Somewhere between painting and screenprint, Rauschenberg both paints and prints, as well as transfers photographs to canvas, and breaks the surface with his characteristic use of stencils and charcoal. The painting both looks back to the single color canvases because it is executed in a spectrum of greys, and it looks forward to the combines with its sense of collage, the introduction of the ordinary, newspapers, photographs, and other everyday objects onto the canvas – if only in two dimensional representation. As such, occuppying this interstice between painting and combine, the work references Rauschenberg’s increasing interest in media of reproduction, mass cultural objects, the identity of the nation (the common reference to the USA is here executed through a stencil on a postage stamp). At the same time, it is tentative, a tentativity we see best in the loose strokes of the brush, scattered around the canvas. There is a slather of light grey paint that covers the bottom half of the right hand side of the canvas, and numerous instances of four or five connected strokes of paint, as though he is testing out the color and how it looks, making a swatch of the paint. It is as though something is being worked out on this canvas, something is not yet finished, the artist still unsure of where he is going. I wonder if this is indeed a characteristic of Rauschenberg’s paintings in general? Before the combines that is? Certainly, this tentativity is in stark contrast to the certitude, the force and power of Jasper Johns’ Voice in the next room. Rauschenberg drifts onto and away from this canvas, he is sometimes present, at others, the painting dissolves, as though he has forgotten it. It is as though he has moved on to other things, another phase in his career.
