Robert Rauschenberg, ‘Self-Portrait [for The New Yorker Profile]’, 1964, Bowdoin College Museum of Art

Robert Rauschenberg’s 1964 self-portrait pairing an ink thumbprint with his initials was created for a profile of the artist written by Calvin Tomkins for The New Yorker magazine in February 1964. Rauschenberg’s use of an indexical mark and reference to his name echo earlier works by Marcel Duchamp. The final frame of Duchamp’s 1926 film Anémic Cinéma features his thumbprint and the signature of his female pseudonym Rrose Sélavy. The criminal association of taking fingerprints also calls to mind Duchamp’s 1923 self-portrait Wanted: $2,000 Reward, included in his Boîte, on view in this exhibition. Likewise, in Rauschenberg’s Self-Portrait, the convict association of the thumbprint connotes someone who breaks the rules.

"This Is a Portrait If I Say So: Identity in American Art, 1912 to Today"

Robert Rauschenberg Foundation, New York, New York

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