Robert Rauschenberg, ‘Core’, 1965, IFAC Arts
Robert Rauschenberg, ‘Core’, 1965, IFAC Arts

Robert Rauschenberg’s work reflects a methodology between the approaches of structuralism and post-structuralism that takes on the social and historical currents of his time. His prints are peopled with iconic figures and typical images of the American experience that he placed seemingly randomly, taking away any political or social inclinations. This is the case with his commemorative CORE poster (Congress of Racial Equality), which celebrates the first congress in civil rights, which took place in 1965. The subject matter of this poster includes John F. Kennedy, a Native American, his own photographs of modern landscapes, a statue of a Civil War soldier, Lady Liberty, racecars in the desert, industrial smokestacks, and street signs that are a part of the American commercial landscape.

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Signature: Signed and numbered edition of 200

About Robert Rauschenberg

Robert Rauschenberg’s enthusiasm for popular culture and, with his contemporary Jasper Johns, his rejection of the angst and seriousness of the Abstract Expressionists led him to search for a new way of painting. A prolific innovator of techniques and mediums, he used unconventional art materials ranging from dirt and house paint to umbrellas and car tires. In the early 1950s, Rauschenberg was already gaining a reputation as the art world’s enfant terrible with works such as Erased de Kooning Drawing (1953), for which he requested a drawing (as well as permission) from Willem de Kooning, and proceeded to rub away the image until only ghostly marks remained on the paper. By 1954, Rauschenberg completed his first three-dimensional collage paintings—he called them Combines—in which he incorporated discarded materials and mundane objects to explore the intersection of art and life. “I think a picture is more like the real world when it’s made out of the real world,” he said. In 1964 he became the first American to win the International Grand Prize in Painting at the Venice Biennale. The 1/4 Mile or Two Furlong Piece (1981–98), a cumulative artwork, embodies his spirit of eclecticism, comprising a retrospective overview of his many discrete periods, including painting, fabric collage, sculptural components made from cardboard and scrap metal, as well as a variety of image transfer and printing methods.

American, 1925-2008, Port Arthur, Texas, based in New York and Captiva Island, Florida