Robert Rauschenberg, ‘Support’, 1973, Caviar20

"Support" is a beautiful example of Robert Rauschenberg's aesthetic...as well as his generosity and social engagement.

If you are familiar with the artist's biography you may know of the numerous contributions he made to various social, political and charitable activities during his lifetime.

"Support" was created a short while after a devastating earthquake in Nicaragua. The proceeds of the sale of the print were given to the Pan American Development Foundation, an organization that provided direct relief to victims of the event.

Today this work can be found in many museum collections including the Metropolitan Museum of Fine Art (NYC) and SFMoMA. The latter has an interesting interpretation of this work, including pointing out that the only visible word in the crossword section of the artwork reads "HELP"

This is a fine example of Rauschenberg's work...and his social activism.

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