Robert Rauschenberg Combines and Photems. Mr. Rauschenberg’s work gave new meaning to sculpture....
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Robert Rauschenberg Combines and Photems
Robert Rauschenberg Combines and Photems. Mr. Rauschenberg’s work gave new meaning to sculpture. “Canyon,” for instance, consisted of a stuffed bald eagle
Mr. Rauschenbergs work gave new meaning to sculpture. Canyon,
for instance, consisted of a stuffed bald eagle attached to a
canvas. Monogram was a stuffed Angora goat girdled by a tire atop a
painted panel. Bed entailed a quilt, sheet and pillow, slathered
with paint, as if soaked in blood, framed on the wall. They all
became icons of postwar modernism.
Patrician Barnacle (Scale) 1981 Solvent transfer, Acrylic, and
Fabric with mirrored plexiglas and stepladder on wood. A painter,
photographer, printmaker, choreographer, onstage performer, set
designer and, in later years, even a composer, Mr. Rauschenberg
defied the traditional idea that an artist stick to one medium or
style. He pushed, prodded and sometimes reconceived all the mediums
in which he worked.
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Photem Series #2 1981 Five Gelatin Silver Prints on Aluminum
Building on the legacies of Marcel Duchamp, Kurt Schwitters, Joseph
Cornell and others, he thereby helped to obscure the lines between
painting and sculpture, painting and photography, photography and
printmaking, sculpture and photography, sculpture and dance,
sculpture and technology, technology and performance art not to
mention between art and life. Marcel DuchampJoseph Cornell
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Photem Series #10 1981 Five gelatin silver prints on
aluminum
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The Interloper Tries His Disguises (Kabal American Zephyr) 1982
Solvent transfer on plywood with tire tread, iron wheel, and
engraved brass plate.
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Untitled For Studies From Chinese Summerhall, 1982-83 Color
Photograph2 feet6 inches x 7 feet 4 inches
