Robert Rauschenberg, Blind Rosso, Porpora Glut, 1987, Assembled metal with rope, 130.2 x 193 x 38.1 cm, The Darryl Pottorf Trust, © Estate of Robert, Rauschenberg / licensed by VAGA, New York, NY.

Robert Rauschenberg, Mercury Zero Summer Glut, 1987, Assembled metal, 10,625 x 17,5 x 8,5", Private Collection.

Robert Rauschenberg, Snow Crab Crystal Glut, 1987, Assembled metal and plastic, 153.7 x 293.4 x 39.4 cm, Private collection, courtesy Mrs. Jamileh Weber, Photo: Dorothy Zeidman, © Estate of Robert Rauschenberg / licensed by VAGA, New York, NY.

Robert Rauschenberg: After the Combines Came the Gluts

Robert Rauschenberg, Sunset Glut, 1987, Assembled metal and plastic, 154.3 x 210.8 x 72.1 cm, Estate of Robert Rauschenberg, © Estate of Robert Rauschenberg / licensed by VAGA, New York, NY.

Robert Rauschenberg, Primary Mobiloid Glut, 1988, Assembled metal and rubber, 111.8 x 170.2 x 68.6 cm, Private Collection, © Estate of Robert Rauschenberg / licensed by VAGA, New York, NY.

Robert Rauschenberg, Society Color Wheel Glut, 1989, Assembled metal, 120 x 192 x 22 cm, Private collection, Switzerland, © Estate of Robert Rauschenberg / licensed by VAGA, New York, NY.

Robert Rauschenberg, Nile Throne Glut, 1992, Assembled metals on wheels, 100.3 x 68.6 x 129.5 cm, Private collection, © Estate of Robert Rauschenberg / licensed by VAGA, New York, NY.

Robert Rauschenberg, Regilar Diary Glut, 1986, Assembled and riveted painted material, 85 x 116 x 24", Courtesy of PaceWildenstein.

Robert Rauschenberg, Yellow Moby Glut, 1986, Riveted metal, 320 x 289.6 x 61 cm, Estate of Robert Rauschenberg, © Estate of Robert Rauschenberg / licensed by VAGA, New York, NY.

 

Peggy Guggenheim Collection
Palazzo Venier dei Leoni
701 Dorsoduro Venezia
+ 39 041 2405404
Venice
Roof Terrace
Robert Rauschenberg: Gluts
Curated by Susan Davidson
and David White
May 30-September 20, 2009

One year after Robert Rauschenberg’s death on May 12, 2008, the Peggy Guggenheim Collection is organizing a posthumous tribute to this great American artist with the exhibition Robert Rauschenberg: Gluts. From February 13 to September 12, 2010, this show will display nearly sixty artworks that reveal a relatively unknown facet of his work in metal, made possible by generous loans from the Rauschenberg Estate and private collections and institutions in several different countries.

During a career that spanned over 50 years, Robert Rauschenberg (b. 1925, Texas – d. 2008, Florida) redefined the art of our time and earned a reputation as one of the most prominent artists of the 20th century. He was the defining force in contemporary art for nearly sixty years, creating art in a range of materials, media, and techniques more varied than that of any artist of the 20th or 21st centuries. For him, painting entailed not only using a brush, but also silkscreening, collaging, transferring, and imprinting, and he did so on the widest array of materials from canvas, board, silk, and nylon, to sheet metal, Plexiglas, plaster, and paper.

He has been called a forerunner of virtually every postwar American art movement since Abstract Expressionism, however, he remained fiercely independent from any particular affiliation throughout his protean life.

From the early days of his career, Rauschenberg exhibited a boundless enthusiasm for using all kinds of materials in which to make his art. He was extraordinarily fond of discovering objects that others had thrown away and finding new and often improved uses for them. In doing so, he reinvigorated these items and gave them new life. Rauschenberg himself often spoke of his special fondness for waste materials: “Well, I have sympathy for abandoned objects, so I always try to rescue them as much as I can.”

In 1964, at the age of 38, Rauschenberg received the Grand Prix for Painting at the 32nd Venice Biennale, which cemented his international reputation. It also brought into sharp focus the rivalry between New York and Paris as they vied for leadership in the visual arts field. In winning this prize, Rauschenberg marked a departure from the unbroken line of pre-war European masters who had consistently won the Grand Prix since the end of World War II. Alan Solomon, curator of the U.S. Pavilion, took 22 works by Rauschenberg to Venice, including some of his iconic silkscreened paintings and his Combines.

In the 1980s, Rauschenberg’s artistic attention shifted toward the exploration of the visual properties of metal, and the Gluts was his first body of work in this new material. Susan Davidson, Senior Curator for Collections and Exhibitions at the Guggenheim Museum New York, points out in the exhibition catalogue: “Whether assembling found metal objects or experimenting with his own photographic images screen-printed onto aluminum, stainless steel, bronze, brass or copper, Rauschenberg sought to capture the reflective, textural, sculptural and thematic possibilities of the material.”

The Gluts were inspired by a visit to his home state of Texas on the occasion of the exhibition Robert Rauschenberg, Work from Four Series: A Sesquicentennial Exhibition at the Contemporary Arts Museum Houston, which was organized to celebrate the sesquicentennial (150th anniversary) of Texas’s independence from Mexico.

In the mid-1980s, the Texas economy, which depended heavily on the oil industry, was in the throes of an economic recession due to a glut (or surplus of supply) in the oil market. Rauschenberg was surprised that this “glut” was responsible for the economic devastation of this Gulf Coast region, turning the rural landscape into a wasteland of dereliction strewn with failed gas stations, abandoned cars, and rusting oil barrels.

Upon returning to his home in Florida, Rauschenberg headed to the local junkyard outside Fort Myers and began to collect detritus like that he had seen scattered across the desolate Texas countryside, the image of which had been seared into his brain: road signs, exhaust pipes, radiator grills, metal blinds, etc. At his Captiva studio, he transformed this apparently useless junk into wall reliefs and free-standing sculptures that he titled Gluts. The series recalls his famous Combines of the 1950s in which he brought three dimensional found objects into the realm of painting.

When the Leo Castelli Gallery in New York organized the first public showing of this series in 1986, Rauschenberg commented on their meaning: “It’s a time of glut. Greed is rampant. I’m just exposing it, trying to wake people up. I simply want to present people with their ruins [...] I think of the Gluts as souvenirs without nostalgia. What they are really meant to do is give people an experience of looking at everything in terms of what its many possibilities might be.”

Rauschenberg chose these objects not only for their everydayness but also for their formal properties. Individually and collectively, materials such as these are the very foundation of his artistic vocabulary. Over the next four years, the Gluts were exhibited at numerous galleries in the United States and around the world, and critics regularly commented: “The old Rauschenberg is back”.

The show is curated by Susan Davidson and David White, Curator of the Estate of Robert Rauschenberg. The exhibition, previously shown at the Museum Tinguely, Basel.

The Solomon R. Guggenheim Foundation enjoyed a long and mutually beneficial relationship with Robert Rauschenberg. As early as 1961, works by Rauschenberg were included in two exhibitions at the Solomon R. Guggenheim Museum, New York. In 1963, Lawrence Alloway, then curator of the Guggenheim Museum, organized the exhibition Six Painters and the Object which included six works by Rauschenberg. In 1992 the Guggenheim Museum SoHo presented Robert Rauschenberg: The Early 1950s, curated by Walter Hopps for the Menil Collection in Houston, Texas. In 1997-99, the Guggenheim Museum New York organized what is undoubtedly the most important retrospective of Rauschenberg’s career: Robert Rauschenberg: A Retrospective.. On that occasion, the Solomon R. Guggenheim Foundation and the Guggenheim Museum Bilbao jointly acquired Rauschenberg’s monumental early black and white painting, Barge (1962-63), the largest and most important of his silkscreened paintings.

Robert Rauschenberg, West-Ho Glut, 1986, Assembled metal, 208.3 x 162.6 x 26.7 cm, Collection of Terrae Motus, Pallazo Reale, Caserta, Italy, © Estate of Robert Rauschenberg / licensed by VAGA, New York, NY.

Robert Rauschenberg, Chrome Castle Glut (Neapolitan), 1987, Assembled metal, 271.8 x 205.1 x 43.8 cm, Maxine and Stuart Frankel Foundation for Art, Bloomfield Hills, Michigan, © Estate of Robert Rauschenberg / licensed by VAGA, New York, NY.

Robert Rauschenberg, Cathedral Late Summer Glut, 1987, Assembled metal parts, 50 x 115 x 22", Private Collection.

Robert Rauschenberg, Greek Toy Glut (Neapolitan), 1987. Assembled metal, 207 x 254 x 39.4 cm. Estate of Robert Rauschenberg. Photo: Sally Ritts

Robert Rauschenberg (born 1925), Airport Series: Cat Paws, 1974, Color relief and intaglio with collage on fabric, Published by Graphicstudio U.S.F, Tampa, Florida, sight size, irregular: 87.6 x 91.4 cm, mount: 106.7 x 111.8 cm, National Gallery of Art, Washington, Gift of Graphicstudio / University of South Florida and the Artist, 1986.26.103, Art copyright Robert Rauschenberg / Licensed by VAGA, New York, NY.

A Brief Survey of Robert Rauschenberg's Printmaking Practice

Robert Rauschenberg (born 1925), Samarkand Stitches #1, 1988, screenprint on fabric collage, 193.1 x 167.6 cm (76 x 66 in.), Published by Gemini G.E.L., Los Angeles, California National Gallery of Art, Washington, Gift of Gemini G.E.L. and the Artist, 1991 © Robert Rauschenberg/Licensed by VAGA, New York, NY.

Robert Rauschenberg (born 1925), Shirtboards Morocco/Italy '52, 1990-1991, 28 lithographs with screenprint, hand coloring and collage on cardboard, Published by Styria Studio, New York, New York, sheet: 39.4 x 27.3 cm, The Robert and Jane Meyerhoff Collection, Phoenix, Maryland, Art copyright Robert Rauschenberg/Licensed by VAGA, New York, NY.

Robert Rauschenberg (born 1925), Soviet/American Array III, 1988, Photogravure, Published by Universal Limited Art Editions, Bay Shore, New York, sheet: 223.8 x 134.9 cm, National Gallery of Art, Washington, Gift of Universal Limited Art Editions and the Artist, 1991.76.18.

 

National Gallery
4th and Constitution Avenue NW
202-737-4215
Washington
West Building,
prints and drawings galleries
Let the World In: Prints by Robert Rauschenberg from the National
Gallery of Art and Related Collections

October 28, 2007-March 30, 2008

Robert Rauschenberg’s boundless experimentation and rich collaboration with talented printers provide a focus for Let the World In. The exhibition presents 58 prints, some never before seen in a museum.

The exhibition takes its title from art historian Leo Steinberg, who wrote that Rauschenberg’s art “let the world in again,” referring to the artist’s integration of everyday objects and his use of representation at a time when abstraction dominated.

It is arranged chronologically in five galleries, starting with prints from the early 1960s and ending in the current decade. Works to be shown come from many generous donors to the Gallery and will be augmented by select promised gifts and loans.

Gifts on view from the artist and print publisher Gemini G.E.L. — an important print workshop and publisher in Los Angeles — includes Source (Speculations) (1996), a fusion of disparate images such as a clothesline and Stonehenge, and Vamp (2000), incorporating Rauschenberg photographic images of street life taken in Marrakech in 1999. He was in Morocco to take photographs for his Gemini projects. A recent acquisition, Stunt Man II (1962) completes the series and will be on view with Stunt Man I (1962) and Stunt Man III (1962).

Booster (1967), a key work produced at Gemini G.E.L. features a six-foot-high x-ray image of Rauschenberg’s body. It was the largest hand-pulled, single-sheet print ever made at the time, challenging painting's dominance as a medium. Seemingly random images suffuse Booster, including a chair, an astronomical calendar, two drills, and a photograph of a man in the midst of a long jump — offering viewers an opportunity to bring their own interpretation to the work.

On display are examples from Soviet/American Array (1988) , and Preview (1974) whose iconic images — two antique cars surrounding a Greek kouros — are printed on gauzy fabric that shifts with the slightest breeze, causing shifts in appearance. Two works from the artist’s Ruminations series are included. 'topher (1999) and Big and Little Bullys (1999),gifts from the National Gallery Collectors Committee. The rich, tonal images present the artist and his family and reveal Rauschenberg at his most meditative.

On loan from Rauschenberg are the first state of his seminal print Accident (1963), never before on view in a museum. Rauschenberg printed its final version from a lithographic stone that had accidentally broken, emphasizing creative forces beyond his control. Two prints and a working proof from the Bellini series (1987) — the two prints on loan from the artist and Patricia Alper-Cohn and David I. Cohn, and the working proof on loan from print workshop ULAE — reveal the artist’s integration of photographs with images from great works of art from the past. A selection of Rauschenberg’s Shirtboards (1991) — based on 1952 collages that used cardboard from shirts that he had laundered while he was traveling in Italy and Morocco — highlight the artist’s eagerness to experiment with materials available and of interest to him.

Rauschenberg (b. 1925) grew up in Port Arthur, Texas and received international attention starting in the 1950s when he expanded beyond abstract expressionism and minimalist monochromatic paintings. In works he called Combines, he fused everyday objects in a blend of painting and sculpture.

In the early 1960s, he created superb painterly prints filled with images clipped from newspapers and magazines. As with the Combines, his prints brought representation and the commonplace into avant-garde practice. A water ring from a drinking glass, the face of a coin impressed onto paper, a traced outline from a cane, and the inclusion of fingerprints all reference worldly objects and actions. Rauschenberg also branched out into new processes such as digital imaging as well as printing on unconventional papers, cardboard, fabric, and plastic.

In 1985, Rauschenberg traveled internationally to promote world peace and understanding through art. Through Rauschenberg Overseas Culture Interchange (ROCI), he visited and exhibited in Mexico, Chile, Venezuela, China, Tibet, Japan, Cuba, the Soviet Union, Berlin, and Malaysia. The culminating exhibition took place at the National Gallery of Art, Washington in 1991 as part of the Gallery’s 50th anniversary celebration.

Many credit Rauschenberg with bridging the gap between abstract expressionism and pop art. Today his work is included in virtually every important international collection of contemporary art.

Exhibition curator is Charles Ritchie, associate curator of modern prints and drawings. An exhibition brochure written by Ritchie is available to visitors free of charge.

Robert Rauschenberg (born 1925), Booster and 7 Studies: Booster, 1967, lithograph and screenprint, Published by Gemini G.E.L., Los Angeles, California National Gallery of Art, Gift of Dr. and Mrs. Maclyn E.Wade, 1978 © Robert Rauschenberg/Licensed by VAGA, New York, NY.

Robert Rauschenberg Hoarfrost Editions: Preview, 1974, Solvent transfer and screenprint on paper collage and fabric, 175.3 x 204.5 cm, Published by Gemini G.E.L., Los Angeles, California, National Gallery of Art, Gift of Gemini G.E.L. and the Artist, 1981, © Robert Rauschenberg / Licensed by VAGA, New York, NY.

Robert Rauschenberg, Mirage (Jammer), 1975, Sewn fabric, 203 x 175 cm, Collection of the artist, © Robert Rauschenberg / VG Bild-Kunst, Bonn 2008, Photographer unknown.

Robert Rauschenberg, ½ Gals. / AAPCO (Cardboard), 1971, Cardboard and rope, 285 [var.] x 198 x 26,7 cm, Collection Mac – Musée d’art contemporain, Marseilles, © Robert Rauschenberg / VG Bild-Kunst, Bonn 2008, Photographer unknown.

Travels with Robert Rauschenberg; World Cultures Reinterpreted

Robert Rauschenberg, Volon (Cardboard), 1971, Cardboard, 141 x 373 x 27,3 cm, Collection of the artist, © Robert Rauschenberg / VG Bild-Kunst, Bonn 2008, Photograph by Ellen Labenski.

Robert Rauschenberg, Untitled (Hoarfrost), 1974, Solvent transfer on fabric with paper bags and fabric collage, 213 x 124 cm, Collection of the artist, © Robert Rauschenberg / VG Bild-Kunst, Bonn 2008, Photograph by Glenn Steigelman.

Robert Rauschenberg, Fresco (Jammer), 1976, Fabric, two plastic glasses, water and two metal springs, 213 x 191 x 12,7 cm, Collection of the artist, © Robert Rauschenberg / VG Bild-Kunst, Bonn 2008, Photographer unknown.

Robert Rauschenberg, Moor (Hoarfrost), 1974, Solvent transfer on fabric and collage, 206 x 125 cm, Sonnabend Collection, New York, © Robert Rauschenberg / VG Bild-Kunst, Bonn 2008, Photograph by Lawrence Beck.

Robert Rauschenberg 1974, Photograph by Art Kane.

 

Haus der kunst
Prinzregentenstrasse 1
+ 49 89 21127-115
Munich
Robert Rauschenberg
Travelling '70-'76

May 9-September 14, 2008

The exhibition unites a selection of works from the series "Cardboards," "Venetians," "Early Egyptians," "Hoarfrosts," and "Jammers." Rauschenberg's preoccupation with other cultures, as well as experiences from the various journeys he took are reflected in these pieces, which were created between 1970 and 1976. For the first time, these work groups in Rauschenberg's oeuvre, which have been largely ignored up to now, are receiving the acknowledgement they deserve.

Rauschenberg's travels in the 1970s took him to Italy, France, Jerusalem and India. The series presented here, which were created on, or immediately after these trips, exhibit exceptional simplicity, liveliness and brilliance, utilizing new materials and techniques. During this period Rauschenberg created works made of cardboard, fabric and found objects. In all five series he addresses the classic problems of painting, such as composition, color and texture, as well as those of sculpture, such as weight, balance and the placement of the object in space, with his typical inventiveness.

The Cardboards Rauschenberg used only found bits of cardboard in this series created between 1971 and 1972. His decision to restrict his materials to cardboard and cardboard boxes coincided with his move to Captiva Island in southern Florida: following a very successful period in New York, Rauschenberg was looking for new ways to concentrate; the move took place in 1970 and the artist was looking for a material that he could get anywhere in the world for his new series: "I still haven't been anyplace where there weren't cardboard boxes … even up the Amazon." (Rauschenberg 1991)

Rauschenberg was the first artist to use only cardboard for large format assemblage paintings, sculptures and installations without treating it as painterly decor or subjugating it in any way. He discovered the expressive quality of packaging materials and united the language of formal abstraction with that of real life while completely preserving the material's character. It was precisely this material, which is usually discarded, on which he concentrated his attention: "… A desire built up in me to work in a material of waste and softness. Something yielding with its only message a collection of lines imprinted like a friendly joke. A silent discussion of their history exposed by their new shapes. Labored commonly with happiness. Boxes."

The "Cardboards" tend to be monochromatic. Rauschenberg continues here in the vein of the pure black and white paintings of his early years. In this way the traces on the boxes left by use are strongly accentuated: labels, printed words, imprints from soles and fingers, as well as various kinds of damage marks. These traces superimpose one another and provide information about the box's history. As a universally available material, cardboard boxes also represent the gradual conformity of the world under the conditions of capitalistic overproduction.

The Venetians The "Venetians" were created during 1972 and 1973 in Captiva after a travel to Venice. For this series, Rauschenberg primarily used mass produced materials and discarded household objects: fabric, rope, wood, leather, stone, electric cable and wire, chairs, vases, pillows, an old bathtub, water and scrap metal.

The "Venetians" are more sculptural than the earlier "Cardboards" and less abstract. Characteristic is their reference to Venetian imagery, which, however, is not purely representational. The objects retain their independence and identity and the analogies to the city's appearance are primarily formal. The viewer, for example, mentally transforms a fragmented inner tube into the outline of a gondola and a piece of wood into a gondolier's oar (Untitled [Venetian], 1973).

Rauschenberg was a frequent visitor to and repeated participant in the Venice Biennale. He was one of the first artists to make the city's distinctive character the subject of his work: the halt of time in the lagoon, the city's unfailing appeal despite the gradual decline of its beauty.

In this series Rauschenberg returned to his assemblages, to the juxtaposition of materials and found objects as they had once characterized his combines.

The title of the work, "Sor Aqua", (1973) quotes the Cantico di Frate Sole by St. Francis of Assisi, one of the earliest pieces of Italian literature. The four elements form two sets of siblings: Brother Sun and Sister Moon, Brother Fire and Sister Water. Frate Sole is the symbol of enlightenment through God. In Rauschenberg's work bent pieces of metal hang above a filled bathtub reflected in the water like clouds. The incidental light is also mirrored in the water.

The Early Egyptians The series "Early Egyptians" was created in 1973 and 1974. Cardboard is once again the dominant material, although the way it is treated here is significantly different: The cardboard boxes are not flattened or cut but are almost always used as constructive elements in these large-scale works.

Rauschenberg, not without a certain irony, covers the cardboard boxes with glue and then either rolls them in sand or wraps them in gauze, like mummies. By painting the backs of the boxes with phosphorescent ink he creates a halation on the wall, as if the objects were casting artificial shadows there. "I cover them with a special material, as if it were glue. Then I line them with two or three layers of sand. This was, when you think that they are boxes, they seem like stones. Then after having thought that they are stones, you go back to the first impression. They are not stones! You think again that they are boxes. This ambiguity is what I like. Then I paint their back surface so that they reflect the color on the walls. Like stones that have fallen asleep within a rainbow."

Part of the series was executed in Captiva, part in Paris. Rauschenberg's preoccupation with ancient Egypt was inspired in part by reading material and in part by visits to the Louvre; Rauschenberg had never been to Egypt.

While "Venetians" are lightweight and almost choreographic, "Early Egyptians" suggest heft, even when devoid of it. Rauschenberg creates a monumental effect, which he undercuts at the same time. In this way the works confront the viewer with the question of transience and continuity.

The Hoarfrosts For "Hoarfrosts," executed in 1974 and 1975, Rauschenberg used fabric in place of traditional canvas supports. The title is a reference to Dante's Inferno, which Rauschenberg had illustrated in the 1950s with a series of transfer drawings (Inferno, 1958/60). Accompanied by the poet Virgil, Dante descends into Hell, enveloped in mist and frost: The beginning of the 24th canto says: "What time the hoarfrost copies on the ground / The outward semblance of her sister white."

The technique and content of this series are linked to earlier works. Rauschenberg noticed that gauze used to clean stone slabs in lithography retained traces of the newsprint. By using a solvent, which allowed images to be transferred onto fabric, the artist created a series of works on transparent or semi-transparent fabric; he transferred images from newspapers onto silk, cotton and chiffon. In most of the works several layers of printed fabric overlap, creating delicate palimpsests of depth and elegance. At first, neutral colors dominate the works, although brighter colors are gradually
incorporated.

"Hoarfrosts" tell of disintegration and states of suspense, of concealment and transparency, "presenting the imagery in the ambiguity of freezing into focus or melting from view." (Rauschenberg)

The Jammers In 1975 Rauschenberg worked for a month in an ashram in Ahmedabad, India, a textile production center. After returning home, he executed a series of works in 1975 and 1976 called "Jammers," true bursts of colors. "I never allowed myself the luxury of those brilliant, beautiful colors until I went to India and saw people walking around in them or dragging them in the mud. I realized they were not so artificial."

Fabrics in these works are rectangular, square and triangular and colors are clear and intense, hung loose on the walls or attached to bamboo rods like veils in a state of ethereal equilibrium.

The series' name comes from the windjammer, a sailing vessel, and titles of individual works, such as Pilot and Sextant, emphasize the maritime reference. The "Jammers" can refer to sails on ships, windbreaks on the beach, laundry, drying on clotheslines in southern Europe and Asia, medieval Italian banners or flags of a Tibetan monastery. The exotic is connected to everything that is close and approachable, the holy with the worldly. As with the Venetian series, the "Jammers" display the dual qualities of reference and abstraction.

The exhibition is curated by Mirta d'Argenzio. Its international tour has been organized by the Fundacio de Serralves, Museu de Arte Contemporanea, Porto, and is co-produced with the Haus der Kunst and the Museo d'Arte Contemporanea Donna Regina (Madre), Naples.

Haus der Kunst, Installation shot with Ca' Pesaro (Venetians), 1973 and Untitled (Early Egyptians), 1973, © Robert Rauschenberg / VG Bild-Kunst, Bonn 2008, Photograph by Jens Weber, München.

Robert Rauschenberg, Factum I. 1957, Combine painting: oil, ink, pencil, crayon, paper, fabric, newspaper, printed reproductions, and painted paper on canvas. 61-1/2 x 35-3/4’’, Museum of Contemporary Art, Los Angeles, Panza Collection.

 

Robert Rauschenberg, Factum II, 1957. Combine painting. 155.9 x 90.2 cm (61 3/8 x 35 1/2 in.). Museum of Modern Art, New York. © Robert Rauschenberg / Adagp, Paris, 2006

Robert Rauschenberg (1925-2008) – A Memoriam

Museum of Modern Art
11 West 53 Street
212-708-9400
New York
Alfred H. Barr Painting and
Sculpture Galleries, fourth floor
Robert Rauschenberg (1925-2008)
June 2-June 23, 2008

Museum of Modern Art is showing a special installation in memory of Robert Rauschenberg (American, 1925-2008), who died on May 12. The selection of works, includes Bed (1955), Rebus (1955), and Thirty-four Illustrations for Dante’s Inferno (1958-60). As is customary in this gallery, works by Jasper Johns are also on view. The installation is organized by John Elderfield, The Marie-Josée and Henry Kravis Chief Curator of Painting and Sculpture, and Ann Temkin, The Blanchette Hooker Rockefeller Curator of Painting and Sculpture.

MoMA was the first institution to acquire a work by Rauschenberg in 1952 and, at present, the Museum holds 11 paintings and nearly 200 works on paper, creating one of the world’s strongest museum collections of the artist’s work.

 

Mr. Elderfield says, “MoMA is honored to present this small remembrance of one of the most important and influential artists of the 20th century. This installation is a selection of some of the greatest works by Rauschenberg in MoMA’s collection.”

Additional works in the installation are:

• Untitled (Asheville Citizen). c. 1952, Oil and newspaper on canvas, two panels. 6' 2" x 28-1/2", Purchase.
• Factum I. 1957, Combine painting: oil, ink, pencil, crayon, paper, fabric, newspaper, printed reproductions, and painted paper on canvas. 61-1/2 x 35-3/4’’, The Museum of Contemporary Art, Los Angeles, The Panza Collection.
• Factum II. 1957, Combine painting: oil, ink, pencil, crayon, paper, fabric, newspaper, printed reproductions, and painted paper on canvas. 61-3/8 x 35-1/2", Purchase and an anonymous gift and Louise Reinhardt Smith Bequest (both by exchange).

Robert Rauschenberg, Sink, and Ark, Supplementary plates for deluxe edition of Rauschenberg: XXXIV Drawings for Dante's Inferno 1964, Lithograph, composition (irreg.), Publisher and printer: Universal Limited Art Editions, West Islip, New York. Edition: 43. Gift of the Celeste and Armand Bartos Foundation. Art, © Robert Rauschenberg and U.L.A.E. / Licensed by VAGA, New York, NY, Published by U.L.A.E.

Robert Rauschenberg. (American, 1925 - 2008), Rebus, 1955. Oil, synthetic polymer paint, pencil, crayon, pastel, cut-and-pasted printed and painted papers, and fabric on canvas mounted and stapled to fabric, three panels, 8' x 10' 11-1/8", Partial and promised gift of Jo Carole and Ronald S. Lauder and purchase.