Robert Rauschenberg

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Robert Rauschenberg Combines and Photems
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• 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.

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Canyon 1959 Combine Painting Oil, pencil, paper,
fabric, metal, cardboard box, printed paper,
printed reproductions, photograph, wood, paint
tube, bald eagle, string, pillow.
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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.
Patrician Barnacle (Scale) 1981 Solvent transfer,
Acrylic, and Fabric with mirrored plexiglas and
stepladder on wood.
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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.
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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