Robert Rauschenberg Art

Robert Rauschenberg Los Angeles 1984 Olympic Games (with COA from Olympic Committee), 1982 Offset Lithograph on Parson's Diploma paper Stamp (plate) signed with the artist's initials...

Robert Rauschenberg 'Snowflake Crime XIX', from the ACE Gallery Collection, 1981 Solvent transfer, acrylic and fabric collage on handmade paper with deckled edges Signed and dated '81 in permanent marker on the back; bears unique artist inventory number on the back This is a UNIQUE work of art 7 3/4 × 7 1/2 inches This work is affixed on the top to its original mat, and the artist's hand signature can be seen on the verso, along with the date and artist's unique inventory number. Rauschenberg Reference No: RR-81.002 Signed and dated '81 by Robert Rauschenberg in permanent marker on the verso; bears unique inventory number Provenance: ACE Gallery art collection...

Robert Rauschenberg Trisha Brown Company (Hand signed and dated), 1989 Offset lithograph (hand signed and dated by Robert Rauschenberg) 36 × 24 inches Si...

ROBERT RAUSCHENBERG Dream of William Burroughs, 1972 Offset lithograph 34 1/2 × 24 inches Edition 103/150 Signed, dated and numbered in black marker on the front Unframed Wonderful early 1970s print Words appearing in a dream of William Burroughs Co-published by Automation House and E.A.T., produced by Local One, Amalgamated Lithographers of America, New York Signed and numbered 103/150 in black marker This work is registered with the Robert Rauschenberg archives, reference number: RRF 72.E001 Text reads: THEY DID NOT FULLY UNDERSTAND THE TECHNIQUE. IN A VERY SHORT TIME THEY NEARLY WRECKED THE PLANET. More information about this work from the Rauschenberg Foundation: Lithopinion 26, the current affairs and graphic arts journal, dedicated its summer 1972 edition to the subject of “Our Transportation Mess.” Among the contributors were Theodore Kheel, who was a lawyer, leading labor mediator and arbitrator, as well as an environmentalist, and Senator Edward Kennedy. Kheel commissioned artists such as Romare Bearden, Christo, and Rauschenberg, his friend and client, to address the transportation system in the United States. Rauschenberg’s contribution was inspired by a dream that William Burroughs, the Beat writer, had described to him, and which resulted in the lithograph Dream of William Burroughs (1972) published by Experiments in Art and Technology (E.A.T.). Surrounded by images of various modes of transportation, the lithograph includes the words: “They did not fully understand the technique / in a very short time they nearly wrecked the planet.” As an E.A.T. board member, Kheel understood, like Rauschenberg, that environmentalism and technology were not conflicting views but symbiotic relationships. In Lithopinion 26, E.A.T. stated that it “supports technology when it tries to help people achieve their human potentiality [and] criticizes it when it doesn’t.” About Robert Rauschenberg: Robert Rauschenberg ushered in a new era of postwar American art in the wake of Abstract Expressionism. His approach, along with that of his contemporary Jasper Johns, was sometimes termed “Neo-Dada,” due to its relation to both European forebears and the physical gestures of American Abstract Expressionists. His Combine works (1954 to early 1960s) blurred the distinctions between painting and sculpture, as their flat surfaces were augmented with discarded materials and appropriated images. Rauschenberg also worked with photography, printmaking, papermaking, and performance, the last of which resulted in a number of collaborations with choreographers, including Merce Cunningham, Paul Taylor, and Trisha Brown. Rauschenberg was among the founding members of the innovative group Experiments in Art and Technology (E.A.T.) in 1966, and in 1984 he established the Rauschenberg Overseas Culture Interchange (ROCI) to bring art to communities around the world, saying, “I feel strong in my beliefs, based on my varied and widely traveled collaborations, that a one-to-one contact through art contains potent peaceful powers, and is the most non-elitist way to share exotic and common information, seducing us into creative mutual understandings for the benefit of all.” Rauschenberg’s nontraditional art practice and creative energy generated an enduring influence that impacted generations of artists, as noted by art historian Branden W. Joseph: “Rauschenberg’s was a position with which artists across the board were confronted and to which they almost necessarily had to respond. … Rauschenberg’s work served as a stimulus, an impetus and a challenge.” Robert Rauschenberg was born in 1925, in Port Arthur, Texas and died on Captiva Island, Florida in 2008. He has had numerous exhibitions worldwide, including “Robert Rauschenberg: A Retrospective,” Solomon R. Guggenheim Museum, New York (1997, traveled to Menil Collection, Contemporary Arts Museum, and Museum of Fine Arts, Houston, Museum Ludwig, Cologne and Guggenheim Museum, Bilbao, through 1999); “Combines,” Metropolitan Museum of Art, New York (2005, traveled to Museum of Contemporary Art, Los Angeles, Centre Pompidou, Paris, and Moderna Museet, Stockholm in 2007); “Cardboards and Related Pieces,” Menil Collection, Houston (2007); “Traveling ‘70–‘76,” Museu de Arte Contemporânea de Serralves, Porto (2008, traveled to Haus der Kunst, Munich, and Madre, Naples in 2009); “Gluts,” The Peggy Guggenheim Collection, Venice (2009, traveled to The Tinguely Museum, Basel, Guggenheim Museum Bilbao, and Villa e Collezione Panza, Varese in 2010); and “Botanical Vaudeville,” Inverleith House, Royal Botanic Garden, Edinburgh (2011). Gagosian Gallery first exhibited Robert Rauschenberg’s work in 1986. About William Burroughs William S. Burroughs was a Beat Generation writer known for his startling, nontraditional accounts of drug culture...

Robert Rauschenberg Photos In+Out City Limits: Boston (hand signed by Robert Rauschenberg), 1981 Monograph held in slipcase (Hand signed in graphite pencil) Hand signed by Robert Rau...

Robert Rauschenberg I Love New York, 2001 (LARGE) Plate signed on the front Offset lithograph on high quality wove paper 39.25" x 25 inches (This ship...

Robert Rauschenberg Earth Day, 1970 Offset Lithograph Plate signed and dated on the front Publisher: Castelli Graphics 33 1/2 × 22 1/4 inches Unframed This is the original 1970 offse...

Robert Rauschenberg Lucio Amelio Napoli poster, 1987 Offset lithograph poster Plate signed 39 × 21 inches Unframed This poster was published for the exh...

Robert Rauschenberg Test Stone #6 (Blue Cloud) from the Booster and 7 Studies Series (Foster, 45, G:33), 1967 Lithograph on domestic etching paper 47 × 35 inches Hand signed and numb...

Robert Rauschenberg Robert Rauschenberg at Leo Castelli (postmarked to artist Ludwig Sander), 1960 Offset lithograph poster 19 × 26 inches Unframe...

Robert Rauschenberg International Very Special Arts Festival, 1989 Lithograph on wove paper Signed, dated and numbered from the edition of 275 in graphite pencil on the front 38 1/4 ...

Robert Rauschenberg Abstract Composition (Robert Rauschenberg Foundation #88.D109), 1988 Solvent transfer, watercolor, and gouache on Japanese dedication board Hand-signed by artist,...

Robert Rauschenberg Museo D'Arte Moderna, Ca' Pesaro Venezia, 1975 Extremely rare vintage offset lithograph poster 39 4/5 × 27 3/5 inches Unframed Robert Rauschenberg was drawn to poster design throughout his career, viewing the medium as a unique opportunity to collaborate with printmakers and reach a larger audience. Rauschenberg’s posters are rarely legible at first glance and require repeat viewing to uncover their many hidden symbols and details. Composed of layered images and text, Rauschenberg’s first poster was a black-and-white advertisement for his first retrospective at the Jewish Museum in 1963, and he continued to create exhibition posters throughout his life. “We were doing a poster for every show, and those posters were going out all over the country, and people were thinking we must be this amazing gallery instead of a freight elevator,” Rauschenberg remembered of this era. Over the next 35 years, the artist created over 100 posters celebrating iconic historical moments, including the first landing on the moon and the first Earth Day, in his signature collage aesthetic. Vintage 1975 poster...

Robert Rauschenberg and Cris Gianakos RAUSCHENBERG (Scarce and collectible early invitation), 1970 Offset Lithograph Invitation 8 7/10 × 11 9/10 inches Unframed Offset lithograph invitation created on the occasion of Robert Rauschenberg's exhibition at SVA's Visual Arts Gallery in 1970. The poster was designed by Cristos Gianakos, who was also a professor at SVA, and the show was curated by Felice Wender, the director of Dayon's Gallery 12 in Minneapolis. The invitation states that "after completing its New York debut, the show will open at the School of the Art Institute of Chicago in January 4, 1971 and continue through January 29, 1971. In May, 1971, Dayton's Gallery 12, Minneapolis, Minnesota will exhibit the new Rauschenberg works..." The text on this invitation additionally states that Rauschenberg said in a written statement about these works: "The image and the words cooperate to construct a flat re-reading of the facts plus familiar passing insignificancies that control our day. Information, originally engaged in a daily rhetorical screen to eliminate as much direct feeling and response as possible, re-exposed to encourage consideration..." In nearly a decade and a half of buying and selling art...

Robert Rauschenberg Untitled Limited Edition Porcelain Plate (Guggenheim Museum), 1997 Porcelain Plate (Limited Edition Exclusively for Guggenheim) 10 2/5 in diameter Signed in plate...

Robert Rauschenberg Human Rights Award, 1981 Silkscreen and Lithograph with Collage Embossing on Hodgkins Handmade Paper Pencil signed and numbered 73/100 on the front Silkscreen and Lithograph with Collage Embossing on Hodgkins Handmade Paper Published by the Democratic Party...