Tate Modern
December 1, 2016– April 2, 2017
To focusattention on the importance of creative dialogue and collaboration in Rauschenberg’s
Among its many highlights, Robert Rauschenberg presents the artist’s widely celebrated
The exhibition represents the richness of Rauschenberg’s late career through the Gluts series (1986–89, 1991–94), metal sculptures inspired by the contemporary economy of the artist’s native Texas.
The final gallery also features such works as
![]()
Holiday Ruse (Night Shade) (1991) and
![]()
Mirthday Man (Anagram [A Pun]) (1997),
which show Rauschenberg developing new printing techniques to reproduce his own photographs at the grand scale of painting, refusing through his very last works to segregate artistic mediums from one another.
December 1, 2016– April 2, 2017
The Museum of Modern Art
May 21, 2017–September 17, 2017
San Francisco Museum of Modern Art (SFMOMA)
November 18, 2017–March 25, 2018
Robert Rauschenberg: Among Friends, a retrospective spanning the six-decade career of this defining figure of contemporary art, will be on view at The Museum of Modern Art from May 21 through September 17, 2017. Organized in collaboration with Tate Modern in London, this exhibition brings together over 250 works, integrating Rauschenberg’s astonishing range of production across mediums including painting, sculpture, drawing, prints, photography, sound works, and performance footage.
Robert Rauschenberg is organized by Leah Dickerman, The Marlene Hess Curator of Painting and Sculpture, The Museum of Modern Art,and Achim Borchardt-Hume, Director of Exhibitions at Tate Modern, with Emily Liebert and Jenny Harris, curatorial assistants, Department of Painting and Sculpture, The Museum of Modern Art. The exhibition’s design at MoMA is created in collaboration with acclaimed artist and filmmaker Charles Atlas.
In addition to this retrospective’s presentation in New York, Robert Rauschenberg was on view in a different iteration at Tate Modern (December 1, 2016– April 2, 2017) and will be shown at the San Francisco Museum of Modern Art (SFMOMA) (November 18, 2017–March 25, 2018).
May 21, 2017–September 17, 2017
San Francisco Museum of Modern Art (SFMOMA)
November 18, 2017–March 25, 2018
Robert Rauschenberg: Among Friends, a retrospective spanning the six-decade career of this defining figure of contemporary art, will be on view at The Museum of Modern Art from May 21 through September 17, 2017. Organized in collaboration with Tate Modern in London, this exhibition brings together over 250 works, integrating Rauschenberg’s astonishing range of production across mediums including painting, sculpture, drawing, prints, photography, sound works, and performance footage.
Robert Rauschenberg is organized by Leah Dickerman, The Marlene Hess Curator of Painting and Sculpture, The Museum of Modern Art,and Achim Borchardt-Hume, Director of Exhibitions at Tate Modern, with Emily Liebert and Jenny Harris, curatorial assistants, Department of Painting and Sculpture, The Museum of Modern Art. The exhibition’s design at MoMA is created in collaboration with acclaimed artist and filmmaker Charles Atlas.
In addition to this retrospective’s presentation in New York, Robert Rauschenberg was on view in a different iteration at Tate Modern (December 1, 2016– April 2, 2017) and will be shown at the San Francisco Museum of Modern Art (SFMOMA) (November 18, 2017–March 25, 2018).
To focusattention on the importance of creative dialogue and collaboration in Rauschenberg’s
work,MoMA’s presentation is structured as an “open monograph”—as other artists, dancers,
musicians, and writers came into Rauschenberg’s creative life, their work enters the
exhibition, mapping the exchange of ideas. These figures, among the most influential in
American postwar culture, include Trisha Brown, John Cage, Merce Cunningham, Sari Dienes,
Morton Feldman, Jasper Johns, Billy Klüver, Paul Taylor, Jean Tinguely, David Tudor, Cy
Twombly, Susan Weil, and many others.
In 1959, Robert Rauschenberg (American, 1925–2008) wrote, “Painting relates to both art
and life. Neither can be made. (I try to act in that gap between the two.)” His work in this gap
played a key role in defining the possibilities for artmaking in the years to come. The early
1950s, when Rauschenberg launched his career, was the heyday of the heroic gestural
painting of Abstract Expressionism. Rauschenberg challenged this painterly tradition with an
egalitarian approach to materials, bringing the stuff of the everyday world into his art. Working
alone and in collaboration with others, Rauschenberg invented new, interdisciplinary forms of
artistic practice that helped set the course for art of the present day. He created works that
merged traditional art materials with ordinary objects, found imagery, and the cutting-edge
technology of an emergent digital age; developed new modes of performance and
performative work; and organized collaborative projects that crossed the boundaries
between mediums and nations.
“The ethos that permeates Rauschenberg’s work—an openness, commitment to
dialogue and collaboration, and global curiosity—makes him, now more than ever, a
touchstone for our troubled times,” says exhibition curator Leah Dickerman.
The exhibition galleries group work across mediums from particular moments and places in
which Rauschenberg and his friends and collaborators came together, making art and often
presenting it in association, starting with Black Mountain College, near Asheville, North
Carolina, then moving to Rauschenberg’s Fulton Street and Pearl Street studios in New York
City, and finally to Captiva Island, Florida, where the artist concluded his prolific career.
Among its many highlights, Robert Rauschenberg presents the artist’s widely celebrated
Combines (1954–64) and silkscreen paintings (1962–64) in fresh ways, including two rarely
lent works:
![]()
Charlene (1954), the last and largest from the artist’s series of Red Paintings,
Charlene (1954), the last and largest from the artist’s series of Red Paintings,
which incorporates mirrors, part of a man’s undershirt, an umbrella, comic strips, and a light
that flashes on and off;
![]()
and Monogram (1955–59), Rauschenberg’s famous Combineassembled from a taxidermied angora goat and a tire, positioned on a painted and collagedwooden platform. At the same time, the exhibition explores lesser-known periods within hiscareer, including his work of the early 1950s and the late 1960s, which is increasinglycompelling and prescient to contemporary eyes.
and Monogram (1955–59), Rauschenberg’s famous Combineassembled from a taxidermied angora goat and a tire, positioned on a painted and collagedwooden platform. At the same time, the exhibition explores lesser-known periods within hiscareer, including his work of the early 1950s and the late 1960s, which is increasinglycompelling and prescient to contemporary eyes.
Among Rauschenberg’s early landmarks are his
![]()
Erased de Kooning Drawing (1953)
![]()
andAutomobile Tire Print (1953). The latter work was made when the artist instructed composer
Erased de Kooning Drawing (1953)
andAutomobile Tire Print (1953). The latter work was made when the artist instructed composer
John Cage to drive his Model A Ford through a pool of paint and then across 20 sheets of
typewriter paper.
Later galleries present two of his most ambitious technologicalexperiments, both made in collaboration with engineers:
![]()
Oracle (with Billy Klüver, HaroldHodges, Per Biorn, Toby Fitch, and Robert K. Moore, 1962–65), a five-part sculpture thatcombines salvaged metal junkyard treasures with the most advanced wireless transistorcircuitry,
![]()
and Mud Muse (with Frank LaHaye, Lewis Ellmore, George Carr, Jim Wilkinson, Carl
Later galleries present two of his most ambitious technologicalexperiments, both made in collaboration with engineers:
Oracle (with Billy Klüver, HaroldHodges, Per Biorn, Toby Fitch, and Robert K. Moore, 1962–65), a five-part sculpture thatcombines salvaged metal junkyard treasures with the most advanced wireless transistorcircuitry,
and Mud Muse (with Frank LaHaye, Lewis Ellmore, George Carr, Jim Wilkinson, Carl
Adams, and Petrie Mason Robie, 1968–71), a vat of 8,000 pounds of drillers’ mud, which
burbles like a primeval tar pit in syncopation with sound-activated air compressors.
The exhibition represents the richness of Rauschenberg’s late career through the Gluts series (1986–89, 1991–94), metal sculptures inspired by the contemporary economy of the artist’s native Texas.
The final gallery also features such works as
Holiday Ruse (Night Shade) (1991) and
Mirthday Man (Anagram [A Pun]) (1997),
which show Rauschenberg developing new printing techniques to reproduce his own photographs at the grand scale of painting, refusing through his very last works to segregate artistic mediums from one another.
The pioneering video artist and filmmaker Charles Atlas collaborated on the exhibition’s presentation in New York. An artist with 14 works in the Museum’s collection, Atlas worked with the Merce Cunningham Dance Company from the early 1970s to 1983 as stage manager, lighting designer, and in-house filmmaker, and maintained a close working relationship with Cunningham until his death in 2009. Atlas recounts that Rauschenberg, who collaborated with Cunningham on more than 20 performances from 1954 to 1964, was the reason for the young artist’s first association with the company: “I went to see Rauschenberg’s work—that was my introduction to Merce.... [Rauschenberg] has been my main inspiration all my artistic life.”
Atlas’s work with the Museum’s curatorial and exhibition-design teams foregrounds Rauschenberg’s deep engagement with dance and performance, underscoring the ways these disciplines fundamentally shaped his approach to art making. One of the exhibition’s centerpieces is a new installation that Atlas has created around footage from the historic multimedia performance series 9 Evenings: Theatre and Engineering (1966), which featured works conceived by artists, including Rauschenberg, in collaboration with engineers from Bell Laboratories.
From June 3 through July 30, visitors will also have the chance to see Atlas’s The Illusion of Democracy—a trilogy of video installations comprising Plato’s Alley (2008), Painting by Numbers (2011), and 143652 (2012)—in the Museum’s second-floor exhibition galleries as part of Inbox, an ongoing series of installations that showcase recent additions to MoMA’s collection.
Robert Rauschenberg: Among Friends also presents video documentation from Rauschenberg’s own performances Pelican (1963) and Map Room II (1965). Selected film footage, photographs, and archives document his contributions to dances by Cunningham and Taylor.
The final gallery highlights and celebrates his 16-year collaboration with Trisha Brown (1979–1995). When Brown invited Rauschenberg to design the costume and sets for Glacial Decoy (1979), her first work on a proscenium stage, a “quartet that ‘slides’ back and forth,” Rauschenberg created a backdrop of 620 photographic slides showing sites in and around Fort Myers, Florida, near his home base of Captiva Island. The slides were made to be projected on four large screens lining the back of the stage, migrating from one screen to the next. These projections, which Brown would later describe as a “luminous continuum,” are featured along with documentary footage from the dance’s performance at the Brooklyn Academy of Music in 2009. Footage from Set and Reset (1983), the second collaboration between Rauschenberg and Brown with Laurie Anderson, are featured in this gallery as well.
Atlas’s work with the Museum’s curatorial and exhibition-design teams foregrounds Rauschenberg’s deep engagement with dance and performance, underscoring the ways these disciplines fundamentally shaped his approach to art making. One of the exhibition’s centerpieces is a new installation that Atlas has created around footage from the historic multimedia performance series 9 Evenings: Theatre and Engineering (1966), which featured works conceived by artists, including Rauschenberg, in collaboration with engineers from Bell Laboratories.
From June 3 through July 30, visitors will also have the chance to see Atlas’s The Illusion of Democracy—a trilogy of video installations comprising Plato’s Alley (2008), Painting by Numbers (2011), and 143652 (2012)—in the Museum’s second-floor exhibition galleries as part of Inbox, an ongoing series of installations that showcase recent additions to MoMA’s collection.
Robert Rauschenberg: Among Friends also presents video documentation from Rauschenberg’s own performances Pelican (1963) and Map Room II (1965). Selected film footage, photographs, and archives document his contributions to dances by Cunningham and Taylor.
The final gallery highlights and celebrates his 16-year collaboration with Trisha Brown (1979–1995). When Brown invited Rauschenberg to design the costume and sets for Glacial Decoy (1979), her first work on a proscenium stage, a “quartet that ‘slides’ back and forth,” Rauschenberg created a backdrop of 620 photographic slides showing sites in and around Fort Myers, Florida, near his home base of Captiva Island. The slides were made to be projected on four large screens lining the back of the stage, migrating from one screen to the next. These projections, which Brown would later describe as a “luminous continuum,” are featured along with documentary footage from the dance’s performance at the Brooklyn Academy of Music in 2009. Footage from Set and Reset (1983), the second collaboration between Rauschenberg and Brown with Laurie Anderson, are featured in this gallery as well.
Robert Rauschenberg: Among Friends | MoMA LIVE
PUBLICATIONS:
Robert Rauschenberg: Among Friends is accompanied by two publications: an exhibition catalogue and a new volume devoted to Rauschenberg’s 34 drawings for Dante’s Inferno.
The richly illustrated exhibition catalogue examines the artist’s entire career across a full range of mediums. Edited by Leah Dickerman and Achim Borchardt-Hume, the book features 16 essays by eminent scholars and emerging new writers, including Yve-Alain Bois, Andrianna Campbell, Hal Foster, Mark Godfrey, Hiroko Ikegami, Branden W. Joseph, Ed Krčma, Michelle Kuo, Pamela M. Lee, Emily Liebert, Richard Meyer, Helen Molesworth, Kate Nesin, Sarah Roberts, and Catherine Wood. Each essay focuses on a specific moment in Rauschenberg’s career, exploring his creative production across disciplines. Integrating new scholarship, documentary imagery, and archival materials, this is the first comprehensive catalogue of Rauschenberg’s career in 20 years. 414 pages, 436 illustrations. Hardcover, $75. ISBN: 978- 1-63345-020-2. Paperback, $55. ISBN: 978-1-63345-021-9. Published in the United States and Canada by The Museum of Modern Art, New York, and available at MoMA stores and online at store.moma.org. Distributed to the trade through ARTBOOK|D.A.P. in the United States and Canada. Published and distributed outside the United States and Canada by Tate Publishing.
MoMA is also publishing Robert Rauschenberg: Thirty-Four Illustrations for Dante’s “Inferno,” a new volume devoted to this treasured icon in the Museum’s collection. Between 1958 and 1960, Rauschenberg made drawings for each of the 34 cantos of Dante Alighieri’s13th-century poem Inferno by using a novel technique to transfer photographicreproductions from magazines or newspapers onto paper, and then working further with other materials. A testament to Rauschenberg’s desire to have art reflect contemporary experience, the resulting drawings weave together meditations on public and private spheres, politics and inner life. Above all, they pay homage to creativity in dialogue: each drawing is a conversation with Dante across the centuries.
For this volume, MoMA has invited two acclaimed poets of our own time—Kevin Young and Robin Coste Lewis—to offer their responses, in conversation with each other, to Rauschenberg’s celebrated series in a poem for each drawing. Coste Lewis is a provost’s fellow in poetry and visual studies at the University of Southern California, and the authorof Voyage of the Sable Venus (2015), the winner of the National Book Award for Poetry. Young is the poetry editor at The New Yorker, the director of the Schomburg Center for Research in Black Culture, and the author of 11 books of poetry and prose, most recently Blue Laws: Selected & Uncollected Poems 1995–2015 (2016), which was longlisted for the National Book Award. An essay by curator Leah Dickerman explores Rauschenberg’s making of the Dante drawings in depth.
Robert Rauschenberg: Thirty-Four Illustrations for Dante’s “Inferno”will be published as a paperback and as a limited-edition portfolio of 500 copies that contains facsimiles of each of Rauschenberg’s drawings; this will be the first time the series has been made available as a printed set since 1964. Paperback, $24.95. ISBN 978-1-63345-029-5. 104 pages; 50 illustrations. Limited edition, $500. ISBN 978-0-87070-857-9. 76-page illustrated booklet and 34 individual sheets encased in a clothbound clamshell box. Both editions published by The Museum of Modern Art, New York, and available at MoMA stores and online at store.moma.org. Distributed to the trade through ARTBOOK|D.A.P. in the United States and Canada. Distributed outside the United States and Canada by Thames & Hudson.
![]()
Scanning
1963
Oil and silk-screen-ink print on canvas
55 3/4 x 73" (141.6 x 185.4 cm)
San Francisco Museum of Modern Art. Fractional and promised gift of Helen and Charles Schwab
ROBERT RAUSCHENBERG (American, 1925–2008)
![]()
Tracer
1963
Oil and silkscreen-ink print on canvas
84 × 60" (213.4 × 152.4 cm)
The Nelson-Atkins Museum of Art, Kansas City, Missouri. Purchase: Nelson Gallery Foundation
ROBERT RAUSCHENBERG (American, 1925–2008)
![]()
Persimmon
1964
Oil and silk-screen-ink print on canvas 66 x 50” (167.6 x 127 cm)
Collection Jean-Christophe Castelli
![]()
Press
1964
Oil and silk-screen-ink print on canvas
84 × 60" (213.4 × 152.4 cm)
Collection Samuel and Ronnie Heyman, Palm Beach, Florida
![]()
Robert Rauschenberg: Among Friends is accompanied by two publications: an exhibition catalogue and a new volume devoted to Rauschenberg’s 34 drawings for Dante’s Inferno.
The richly illustrated exhibition catalogue examines the artist’s entire career across a full range of mediums. Edited by Leah Dickerman and Achim Borchardt-Hume, the book features 16 essays by eminent scholars and emerging new writers, including Yve-Alain Bois, Andrianna Campbell, Hal Foster, Mark Godfrey, Hiroko Ikegami, Branden W. Joseph, Ed Krčma, Michelle Kuo, Pamela M. Lee, Emily Liebert, Richard Meyer, Helen Molesworth, Kate Nesin, Sarah Roberts, and Catherine Wood. Each essay focuses on a specific moment in Rauschenberg’s career, exploring his creative production across disciplines. Integrating new scholarship, documentary imagery, and archival materials, this is the first comprehensive catalogue of Rauschenberg’s career in 20 years. 414 pages, 436 illustrations. Hardcover, $75. ISBN: 978- 1-63345-020-2. Paperback, $55. ISBN: 978-1-63345-021-9. Published in the United States and Canada by The Museum of Modern Art, New York, and available at MoMA stores and online at store.moma.org. Distributed to the trade through ARTBOOK|D.A.P. in the United States and Canada. Published and distributed outside the United States and Canada by Tate Publishing.
MoMA is also publishing Robert Rauschenberg: Thirty-Four Illustrations for Dante’s “Inferno,” a new volume devoted to this treasured icon in the Museum’s collection. Between 1958 and 1960, Rauschenberg made drawings for each of the 34 cantos of Dante Alighieri’s13th-century poem Inferno by using a novel technique to transfer photographicreproductions from magazines or newspapers onto paper, and then working further with other materials. A testament to Rauschenberg’s desire to have art reflect contemporary experience, the resulting drawings weave together meditations on public and private spheres, politics and inner life. Above all, they pay homage to creativity in dialogue: each drawing is a conversation with Dante across the centuries.
For this volume, MoMA has invited two acclaimed poets of our own time—Kevin Young and Robin Coste Lewis—to offer their responses, in conversation with each other, to Rauschenberg’s celebrated series in a poem for each drawing. Coste Lewis is a provost’s fellow in poetry and visual studies at the University of Southern California, and the authorof Voyage of the Sable Venus (2015), the winner of the National Book Award for Poetry. Young is the poetry editor at The New Yorker, the director of the Schomburg Center for Research in Black Culture, and the author of 11 books of poetry and prose, most recently Blue Laws: Selected & Uncollected Poems 1995–2015 (2016), which was longlisted for the National Book Award. An essay by curator Leah Dickerman explores Rauschenberg’s making of the Dante drawings in depth.
Robert Rauschenberg: Thirty-Four Illustrations for Dante’s “Inferno”will be published as a paperback and as a limited-edition portfolio of 500 copies that contains facsimiles of each of Rauschenberg’s drawings; this will be the first time the series has been made available as a printed set since 1964. Paperback, $24.95. ISBN 978-1-63345-029-5. 104 pages; 50 illustrations. Limited edition, $500. ISBN 978-0-87070-857-9. 76-page illustrated booklet and 34 individual sheets encased in a clothbound clamshell box. Both editions published by The Museum of Modern Art, New York, and available at MoMA stores and online at store.moma.org. Distributed to the trade through ARTBOOK|D.A.P. in the United States and Canada. Distributed outside the United States and Canada by Thames & Hudson.
ROBERT RAUSCHENBERG (American, 1925–2008)
Canto VII: Circle Four, The Hoarders and The Wasters; Circle Five, The Wrathful and The Sullen from the series Thirty-Four Illustrations for Dante's Inferno
(1959-60)
Solvent transfer drawing, pencil, watercolor, and colored pencil on paper 14 3/8 × 11 3/8" (36.5 × 28.9 cm)
The Museum of Modern Art, New York. Given anonymously
ROBERT RAUSCHENBERG (American, 1925–2008)
Canto VIII: Circle Five, The Styx, The Wrathful; Circle Six, Dis, Capital of Hell, The Fallen Angels from the series Thirty-Four Illustrations for Dante's Inferno (1959-60)
Solvent transfer drawing, pencil, watercolor, gouache, and crayon on paper 14 1/2 × 11 1/2" (36.8 × 29.2 cm)
The Museum of Modern Art, New York. Given anonymously
Canto VII: Circle Four, The Hoarders and The Wasters; Circle Five, The Wrathful and The Sullen from the series Thirty-Four Illustrations for Dante's Inferno
(1959-60)
Solvent transfer drawing, pencil, watercolor, and colored pencil on paper 14 3/8 × 11 3/8" (36.5 × 28.9 cm)
The Museum of Modern Art, New York. Given anonymously
ROBERT RAUSCHENBERG (American, 1925–2008)
Canto VIII: Circle Five, The Styx, The Wrathful; Circle Six, Dis, Capital of Hell, The Fallen Angels from the series Thirty-Four Illustrations for Dante's Inferno (1959-60)
Solvent transfer drawing, pencil, watercolor, gouache, and crayon on paper 14 1/2 × 11 1/2" (36.8 × 29.2 cm)
The Museum of Modern Art, New York. Given anonymously
5/12/2017
Robert Rauschenberg: Among Friends
Page 28 of 71
04 Dante and Classical Past
ROBERT RAUSCHENBERG (American, 1925–2008)
Canto X: Circle Six, The Heretics from the series Thirty-Four Illustrations for Dante's Inferno
(1959-60)
Solvent transfer drawing, watercolor, pencil, gouache, and crayon on paper 14 1/2 × 11 3/8" (36.8 × 28.9 cm)
The Museum of Modern Art, New York. Given anonymously
ROBERT RAUSCHENBERG (American, 1925–2008)
Canto XI: Circle Six, The Heretics from the series Thirty-Four Illustrations for Dante's Inferno
(1959-60)
Solvent transfer drawing, gouache, and pencil on paper
14 1/2 × 11 3/8" (36.8 × 28.9 cm)
The Museum of Modern Art, New York. Given anonymously
ROBERT RAUSCHENBERG (American, 1925–2008)
Canto XII: Circle Seven, Round 1, The Violent Against Neighbors from the series Thirty-Four Illustrations for Dante's Inferno
(1959-60)
Solvent transfer drawing, watercolor, colored pencil, pencil, gouache, and black chalk on paper
14 1/2 × 11 1/2" (36.8 × 29.2 cm)
The Museum of Modern Art, New York. Given anonymously
ROBERT RAUSCHENBERG (American, 1925–2008)
Canto XIII: Circle Seven, Round 2, The Violent Against Themselves from the series Thirty- Four Illustrations for Dante's Inferno
(1959-60)
Solvent transfer drawing, gouache, pencil, colored pencil, watercolor, and black chalk on paper
14 1/2 × 11 3/8" (36.8 × 28.9 cm)
The Museum of Modern Art, New York. Given anonymously
Canto X: Circle Six, The Heretics from the series Thirty-Four Illustrations for Dante's Inferno
(1959-60)
Solvent transfer drawing, watercolor, pencil, gouache, and crayon on paper 14 1/2 × 11 3/8" (36.8 × 28.9 cm)
The Museum of Modern Art, New York. Given anonymously
ROBERT RAUSCHENBERG (American, 1925–2008)
Canto XI: Circle Six, The Heretics from the series Thirty-Four Illustrations for Dante's Inferno
(1959-60)
Solvent transfer drawing, gouache, and pencil on paper
14 1/2 × 11 3/8" (36.8 × 28.9 cm)
The Museum of Modern Art, New York. Given anonymously
ROBERT RAUSCHENBERG (American, 1925–2008)
Canto XII: Circle Seven, Round 1, The Violent Against Neighbors from the series Thirty-Four Illustrations for Dante's Inferno
(1959-60)
Solvent transfer drawing, watercolor, colored pencil, pencil, gouache, and black chalk on paper
14 1/2 × 11 1/2" (36.8 × 29.2 cm)
The Museum of Modern Art, New York. Given anonymously
ROBERT RAUSCHENBERG (American, 1925–2008)
Canto XIII: Circle Seven, Round 2, The Violent Against Themselves from the series Thirty- Four Illustrations for Dante's Inferno
(1959-60)
Solvent transfer drawing, gouache, pencil, colored pencil, watercolor, and black chalk on paper
14 1/2 × 11 3/8" (36.8 × 28.9 cm)
The Museum of Modern Art, New York. Given anonymously
5/12/2017
Robert Rauschenberg: Among Friends
Page 29 of 71
04 Dante and Classical Past
ROBERT RAUSCHENBERG (American, 1925–2008)
Canto XIV: Circle Seven, Round 3, The Violent Against God, Nature, and Art, from the series Thirty-Four Illustrations for Dante's Inferno
(1959-60)
Solvent transfer drawing, watercolor, gouache, pencil, and red chalk on paper 14 3/8 × 11 1/2" (36.5 × 29.2 cm)
The Museum of Modern Art, New York. Given anonymously
ROBERT RAUSCHENBERG (American, 1925–2008)
Canto XIX: Circle Eight, Bolgia 3, The Simoniacs from the series Thirty-Four Illustrations for Dante's Inferno
(1959-60)
Solvent transfer drawing, gouache, and pencil on paper
14 3/8 × 11 1/2" (36.5 × 29.2 cm)
The Museum of Modern Art, New York. Given anonymously
ROBERT RAUSCHENBERG (American, 1925–2008)
Canto XV: Circle Seven, Round 3, The Violent Against Nature from the series Thirty-Four Illustrations for Dante's Inferno
(1959-60)
Solvent transfer drawing, gouache, watercolor, and pencil on paper
14 1/2 × 11 1/2" (36.8 × 29.2 cm)
The Museum of Modern Art, New York. Given anonymously
ROBERT RAUSCHENBERG (American, 1925–2008)
Canto XVI: Circle Seven, Round 3, The Violent Against Nature and Art from the series Thirty-Four Illustrations for Dante's Inferno
(1959-60)
Solvent transfer drawing, watercolor, pencil, colored pencil, and gouache on paper
14 3/8 × 11 3/8" (36.5 × 28.9 cm)
The Museum of Modern Art, New York. Given anonymously
Canto XIV: Circle Seven, Round 3, The Violent Against God, Nature, and Art, from the series Thirty-Four Illustrations for Dante's Inferno
(1959-60)
Solvent transfer drawing, watercolor, gouache, pencil, and red chalk on paper 14 3/8 × 11 1/2" (36.5 × 29.2 cm)
The Museum of Modern Art, New York. Given anonymously
ROBERT RAUSCHENBERG (American, 1925–2008)
Canto XIX: Circle Eight, Bolgia 3, The Simoniacs from the series Thirty-Four Illustrations for Dante's Inferno
(1959-60)
Solvent transfer drawing, gouache, and pencil on paper
14 3/8 × 11 1/2" (36.5 × 29.2 cm)
The Museum of Modern Art, New York. Given anonymously
ROBERT RAUSCHENBERG (American, 1925–2008)
Canto XV: Circle Seven, Round 3, The Violent Against Nature from the series Thirty-Four Illustrations for Dante's Inferno
(1959-60)
Solvent transfer drawing, gouache, watercolor, and pencil on paper
14 1/2 × 11 1/2" (36.8 × 29.2 cm)
The Museum of Modern Art, New York. Given anonymously
ROBERT RAUSCHENBERG (American, 1925–2008)
Canto XVI: Circle Seven, Round 3, The Violent Against Nature and Art from the series Thirty-Four Illustrations for Dante's Inferno
(1959-60)
Solvent transfer drawing, watercolor, pencil, colored pencil, and gouache on paper
14 3/8 × 11 3/8" (36.5 × 28.9 cm)
The Museum of Modern Art, New York. Given anonymously
5/12/2017
Robert Rauschenberg: Among Friends
Page 30 of 71
04 Dante and Classical Past
ROBERT RAUSCHENBERG (American, 1925–2008)
Canto XVII: Circle Seven, Round 3, The Violent Against Art, The Usurers, Geryon from the series Thirty-Four Illustrations from Dante's Inferno (1959-60)
Solvent transfer drawing, gouache, and pencil on paper
14 1/2 × 11 1/2" (36.8 × 29.2 cm)
The Museum of Modern Art, New York. Given anonymously
ROBERT RAUSCHENBERG (American, 1925–2008)
Canto XVIII: Circle Eight, Malebolge, The Evil Ditches, The Fraudulent and Malicious: Bolgia 1, The Panderers and Seducers; Bolgia 2, The Flatterers from the series Thirty-Four Illustrations for Dante's Inferno
(1959-60)
Solvent transfer drawing, pencil, gouache, and crayon on paper
14 1/2 × 11 1/2" (36.8 × 29.2 cm)
The Museum of Modern Art, New York. Given anonymously
ROBERT RAUSCHENBERG (American, 1925–2008)
Canto XX: Circle Eight, Bolgia 4, The Fortune Tellers and Diviners from the series Thirty-Four Illustrations for Dante's Inferno
(1959-60)
Solvent transfer drawing and pencil on paper
14 1/2 × 11 1/2" (36.8 × 29.2 cm)
The Museum of Modern Art, New York. Given anonymously
ROBERT RAUSCHENBERG (American, 1925–2008)
Canto XXI: Circle Eight, Bolgia 5, The Grafters from the series Thirty-Four Illustrations for Dante's Inferno
(1959-60)
Solvent transfer drawing, gouache, cut-and-pasted paper, pencil, and colored pencil on paper
14 3/8 × 11 1/2" (36.5 × 29.2 cm)
The Museum of Modern Art, New York. Given anonymously
Canto XVII: Circle Seven, Round 3, The Violent Against Art, The Usurers, Geryon from the series Thirty-Four Illustrations from Dante's Inferno (1959-60)
Solvent transfer drawing, gouache, and pencil on paper
14 1/2 × 11 1/2" (36.8 × 29.2 cm)
The Museum of Modern Art, New York. Given anonymously
ROBERT RAUSCHENBERG (American, 1925–2008)
Canto XVIII: Circle Eight, Malebolge, The Evil Ditches, The Fraudulent and Malicious: Bolgia 1, The Panderers and Seducers; Bolgia 2, The Flatterers from the series Thirty-Four Illustrations for Dante's Inferno
(1959-60)
Solvent transfer drawing, pencil, gouache, and crayon on paper
14 1/2 × 11 1/2" (36.8 × 29.2 cm)
The Museum of Modern Art, New York. Given anonymously
ROBERT RAUSCHENBERG (American, 1925–2008)
Canto XX: Circle Eight, Bolgia 4, The Fortune Tellers and Diviners from the series Thirty-Four Illustrations for Dante's Inferno
(1959-60)
Solvent transfer drawing and pencil on paper
14 1/2 × 11 1/2" (36.8 × 29.2 cm)
The Museum of Modern Art, New York. Given anonymously
ROBERT RAUSCHENBERG (American, 1925–2008)
Canto XXI: Circle Eight, Bolgia 5, The Grafters from the series Thirty-Four Illustrations for Dante's Inferno
(1959-60)
Solvent transfer drawing, gouache, cut-and-pasted paper, pencil, and colored pencil on paper
14 3/8 × 11 1/2" (36.5 × 29.2 cm)
The Museum of Modern Art, New York. Given anonymously
5/12/2017
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04 Dante and Classical Past
ROBERT RAUSCHENBERG (American, 1925–2008)
Canto XXII: Circle Eight, Bolgia 5, The Grafters from the series Thirty-Four Illustrations for Dante's Inferno
(1959-60)
Solvent transfer drawing, gouache, and pencil on paper
14 3/8 × 11 1/2" (36.5 × 29.2 cm)
The Museum of Modern Art, New York. Given anonymously
ROBERT RAUSCHENBERG (American, 1925–2008)
Canto XXIII: Circle Eight, Bolgia 6, The Hypocrites from the series Thirty-Four Illustrations for Dante's Inferno
(1959-60)
Solvent transfer drawing, pencil, gouache, and watercolor on paper
14 3/8 × 11 1/2" (36.5 × 29.2 cm)
The Museum of Modern Art, New York. Given anonymously
ROBERT RAUSCHENBERG (American, 1925–2008)
Canto XXIV: Circle Eight, Bolgia 7, The Thieves from the series Thirty-Four Illustrations for Dante's Inferno
(1959-60)
Solvent transfer drawing, gouache, watercolor, and pencil on paper
14 3/8 × 11 1/2" (36.5 × 29.2 cm)
The Museum of Modern Art, New York. Given anonymously
ROBERT RAUSCHENBERG (American, 1925–2008)
Canto XXIX: Circle Eight, Bolgia 10, The Falsifiers: Class 1, The Alchemists from the series Thirty-Four Illustrations for Dante's Inferno
(1959-60)
Solvent transfer drawing, pastel, gouache, watercolor, and pencil on paper 14 1/2 × 11 1/2" (36.8 × 29.2 cm)
The Museum of Modern Art, New York. Given anonymously
Canto XXII: Circle Eight, Bolgia 5, The Grafters from the series Thirty-Four Illustrations for Dante's Inferno
(1959-60)
Solvent transfer drawing, gouache, and pencil on paper
14 3/8 × 11 1/2" (36.5 × 29.2 cm)
The Museum of Modern Art, New York. Given anonymously
ROBERT RAUSCHENBERG (American, 1925–2008)
Canto XXIII: Circle Eight, Bolgia 6, The Hypocrites from the series Thirty-Four Illustrations for Dante's Inferno
(1959-60)
Solvent transfer drawing, pencil, gouache, and watercolor on paper
14 3/8 × 11 1/2" (36.5 × 29.2 cm)
The Museum of Modern Art, New York. Given anonymously
ROBERT RAUSCHENBERG (American, 1925–2008)
Canto XXIV: Circle Eight, Bolgia 7, The Thieves from the series Thirty-Four Illustrations for Dante's Inferno
(1959-60)
Solvent transfer drawing, gouache, watercolor, and pencil on paper
14 3/8 × 11 1/2" (36.5 × 29.2 cm)
The Museum of Modern Art, New York. Given anonymously
ROBERT RAUSCHENBERG (American, 1925–2008)
Canto XXIX: Circle Eight, Bolgia 10, The Falsifiers: Class 1, The Alchemists from the series Thirty-Four Illustrations for Dante's Inferno
(1959-60)
Solvent transfer drawing, pastel, gouache, watercolor, and pencil on paper 14 1/2 × 11 1/2" (36.8 × 29.2 cm)
The Museum of Modern Art, New York. Given anonymously
5/12/2017
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04 Dante and Classical Past
ROBERT RAUSCHENBERG (American, 1925–2008)
Canto XXV: Circle Eight, Bolgia 7, The Thieves, from the series Thirty-Four Illustrations for Dante's Inferno
(1959-60)
Solvent transfer drawing, watercolor, colored pencil, and pencil on paper 14 3/8 × 11 1/2" (36.5 × 29.2 cm)
The Museum of Modern Art, New York. Given anonymously
ROBERT RAUSCHENBERG (American, 1925–2008)
Canto XXVI: Circle Eight, Bolgia 8, The Evil Counselors, from the series Thirty-Four Illustrations for Dante's Inferno
(1959-60)
Solvent transfer drawing, watercolor, and pencil on paper
14 3/8 × 11 1/2" (36.5 × 29.2 cm)
The Museum of Modern Art, New York. Given anonymously
ROBERT RAUSCHENBERG (American, 1925–2008)
Canto XXVII: Circle Eight, Bolgia 8, The Evil Counselors from the series Thirty-Four Illustrations for Dante's Inferno
(1959-60)
Solvent transfer drawing, watercolor, gouache, and pencil on paper
14 3/8 × 11 3/8" (36.5 × 28.9 cm)
The Museum of Modern Art, New York. Given anonymously
ROBERT RAUSCHENBERG (American, 1925–2008)
Canto XXVIII: Circle Eight, Bolgia 9, The Sowers of Discord: The Sowers of Religious and Political Discord Between Kinsmen from the series Thirty-Four Illustrations for Dante's Inferno
(1959-60)
Solvent transfer drawing, pencil, watercolor, gouache, and colored pencil on paper
14 1/2 × 11 1/2" (36.8 × 29.2 cm)
The Museum of Modern Art, New York. Given anonymously
Canto XXV: Circle Eight, Bolgia 7, The Thieves, from the series Thirty-Four Illustrations for Dante's Inferno
(1959-60)
Solvent transfer drawing, watercolor, colored pencil, and pencil on paper 14 3/8 × 11 1/2" (36.5 × 29.2 cm)
The Museum of Modern Art, New York. Given anonymously
ROBERT RAUSCHENBERG (American, 1925–2008)
Canto XXVI: Circle Eight, Bolgia 8, The Evil Counselors, from the series Thirty-Four Illustrations for Dante's Inferno
(1959-60)
Solvent transfer drawing, watercolor, and pencil on paper
14 3/8 × 11 1/2" (36.5 × 29.2 cm)
The Museum of Modern Art, New York. Given anonymously
ROBERT RAUSCHENBERG (American, 1925–2008)
Canto XXVII: Circle Eight, Bolgia 8, The Evil Counselors from the series Thirty-Four Illustrations for Dante's Inferno
(1959-60)
Solvent transfer drawing, watercolor, gouache, and pencil on paper
14 3/8 × 11 3/8" (36.5 × 28.9 cm)
The Museum of Modern Art, New York. Given anonymously
ROBERT RAUSCHENBERG (American, 1925–2008)
Canto XXVIII: Circle Eight, Bolgia 9, The Sowers of Discord: The Sowers of Religious and Political Discord Between Kinsmen from the series Thirty-Four Illustrations for Dante's Inferno
(1959-60)
Solvent transfer drawing, pencil, watercolor, gouache, and colored pencil on paper
14 1/2 × 11 1/2" (36.8 × 29.2 cm)
The Museum of Modern Art, New York. Given anonymously
5/12/2017
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04 Dante and Classical Past
ROBERT RAUSCHENBERG (American, 1925–2008)
Canto XXX: Circle Eight, Bolgia 10, The Falsifiers: The Evil Impersonators, Counterfeiters, and False Witnesses from the series Thirty- Four Illustrations for Dante's Inferno
(1959-60)
Solvent transfer drawing, watercolor, gouache, and pencil on paper 14 1/2 × 11 1/2" (36.8 × 29.2 cm)
The Museum of Modern Art, New York. Given anonymously
ROBERT RAUSCHENBERG (American, 1925–2008)
Canto XXXI: The Central Pit of Malebolge, The Giants from the series Thirty- Four Illustrations for Dante's Inferno
(1959-60)
Solvent transfer drawing, colored pencil, gouache, and pencil on paper
14 1/2 × 11 1/2" (36.8 × 29.2 cm)
The Museum of Modern Art, New York. Given anonymously
ROBERT RAUSCHENBERG (American, 1925–2008)
Canto XXXII: Circle Nine, Cocytus, Compound Fraud: Round 1, Caina, Treacherous to Kin; Round 2, Antenora, Treacherous to Country from the series Thirty-Four Illustrations for Dante's Inferno
(1959-60)
Solvent transfer drawing, gouache, watercolor, and pencil on paper 14 1/2 × 11 1/2" (36.8 × 29.2 cm)
The Museum of Modern Art, New York. Given anonymously
ROBERT RAUSCHENBERG (American, 1925–2008)
Canto XXXIII: Circle Nine, Cocytus, Compound Fraud: Round 2, Antenora, Treacherous to Country; Round 3, Ptolomea, Treacherous to Guests and Hosts from the series Thirty-Four Illustrations for Dante's Inferno
(1959-60)
Solvent transfer drawing, watercolor, and pencil on paper 14 1/2 × 11 1/2" (36.8 × 29.2 cm)
The Museum of Modern Art, New York. Given anonymously
Canto XXX: Circle Eight, Bolgia 10, The Falsifiers: The Evil Impersonators, Counterfeiters, and False Witnesses from the series Thirty- Four Illustrations for Dante's Inferno
(1959-60)
Solvent transfer drawing, watercolor, gouache, and pencil on paper 14 1/2 × 11 1/2" (36.8 × 29.2 cm)
The Museum of Modern Art, New York. Given anonymously
ROBERT RAUSCHENBERG (American, 1925–2008)
Canto XXXI: The Central Pit of Malebolge, The Giants from the series Thirty- Four Illustrations for Dante's Inferno
(1959-60)
Solvent transfer drawing, colored pencil, gouache, and pencil on paper
14 1/2 × 11 1/2" (36.8 × 29.2 cm)
The Museum of Modern Art, New York. Given anonymously
ROBERT RAUSCHENBERG (American, 1925–2008)
Canto XXXII: Circle Nine, Cocytus, Compound Fraud: Round 1, Caina, Treacherous to Kin; Round 2, Antenora, Treacherous to Country from the series Thirty-Four Illustrations for Dante's Inferno
(1959-60)
Solvent transfer drawing, gouache, watercolor, and pencil on paper 14 1/2 × 11 1/2" (36.8 × 29.2 cm)
The Museum of Modern Art, New York. Given anonymously
ROBERT RAUSCHENBERG (American, 1925–2008)
Canto XXXIII: Circle Nine, Cocytus, Compound Fraud: Round 2, Antenora, Treacherous to Country; Round 3, Ptolomea, Treacherous to Guests and Hosts from the series Thirty-Four Illustrations for Dante's Inferno
(1959-60)
Solvent transfer drawing, watercolor, and pencil on paper 14 1/2 × 11 1/2" (36.8 × 29.2 cm)
The Museum of Modern Art, New York. Given anonymously
5/12/2017
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04 Dante and Classical Past
ROBERT RAUSCHENBERG (American, 1925–2008)
Canto XXXIV: Circle Nine, Cocytus, Compound Fraud: Round 4, Judecca, Treacherous to their Masters, from the series Thirty-Four Illustrations for Dante's Inferno
(1959-60)
Solvent transfer drawing, gouache, watercolor, and pencil on paper 14 1/2 × 11 3/8" (36.8 × 28.9 cm)
The Museum of Modern Art, New York. Given anonymously
ROBERT RAUSCHENBERG (American, 1925–2008)
Canyon
1959
Oil, pencil, paper, metal, photograph, fabric, wood, canvas, buttons, mirror, taxidermied eagle, cardboard, pillow, paint tube and other materials
81 3/4 x 70 x 24" (207.6 x 177.8 x 61 cm)
The Museum of Modern Art, New York. Gift of the family of Ileana Sonnabend
ROBERT RAUSCHENBERG (American, 1925–2008)
Gift for Apollo
1959
Oil, fragments of a pair of men’s pants, necktie, wood, fabric, newspaper, printed paper, and printed reproductions on wood with metal bucket, metal chain, doorknob, L-brackets, metal washer, mail, cement, and rubber wheels with metal spokes
43 3/4 × 29 1/2 × 41" (111.1 × 74.9 × 104.1 cm) (variable)
The Museum of Contemporary Art, Los Angeles
The Panza Collection
ROBERT RAUSCHENBERG (American, 1925–2008)
Pail for Ganymede
1959
Sheet metal and enamel paint over wood, with crank, gear, sealing wax, and tin can
19 × 5 × 5 1/2" (48.3 × 12.7 × 14 cm)
Robert Rauschenberg Foundation, New York
Canto XXXIV: Circle Nine, Cocytus, Compound Fraud: Round 4, Judecca, Treacherous to their Masters, from the series Thirty-Four Illustrations for Dante's Inferno
(1959-60)
Solvent transfer drawing, gouache, watercolor, and pencil on paper 14 1/2 × 11 3/8" (36.8 × 28.9 cm)
The Museum of Modern Art, New York. Given anonymously
ROBERT RAUSCHENBERG (American, 1925–2008)
Canyon
1959
Oil, pencil, paper, metal, photograph, fabric, wood, canvas, buttons, mirror, taxidermied eagle, cardboard, pillow, paint tube and other materials
81 3/4 x 70 x 24" (207.6 x 177.8 x 61 cm)
The Museum of Modern Art, New York. Gift of the family of Ileana Sonnabend
ROBERT RAUSCHENBERG (American, 1925–2008)
Gift for Apollo
1959
Oil, fragments of a pair of men’s pants, necktie, wood, fabric, newspaper, printed paper, and printed reproductions on wood with metal bucket, metal chain, doorknob, L-brackets, metal washer, mail, cement, and rubber wheels with metal spokes
43 3/4 × 29 1/2 × 41" (111.1 × 74.9 × 104.1 cm) (variable)
The Museum of Contemporary Art, Los Angeles
The Panza Collection
ROBERT RAUSCHENBERG (American, 1925–2008)
Pail for Ganymede
1959
Sheet metal and enamel paint over wood, with crank, gear, sealing wax, and tin can
19 × 5 × 5 1/2" (48.3 × 12.7 × 14 cm)
Robert Rauschenberg Foundation, New York
5/12/2017
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04 Dante and Classical Past
ROBERT RAUSCHENBERG (American, 1925–2008)
Painting with Grey Wing
1959
Oil, printed reproductions, unpainted paint-by-number board, typed print on paper, photographs, fabric, stuffed bird wing, and dime on canvas
32 × 21 1/2 × 1 1/2" (81.3 × 54.6 × 3.8 cm)
The Museum of Contemporary Art, Los Angeles
The Panza Collection
ROBERT RAUSCHENBERG (American, 1925–2008)
Sketch for Monogram
1959
Watercolor and graphite on paper
19 1/8 x 11 3/8" (48.6 x 28.9 cm)
Robert Rauschenberg Foundation, New York
ROBERT RAUSCHENBERG (American, 1925–2008)
Summerstorm
1959
Oil, pencil, paper, printed reproductions, wood, fabric, necktie, and metal zipper on canvas, three panels
79 × 63 × 2 1/2" (200.7 × 160 × 6.4 cm)
Ovitz Family Collection, Los Angeles
ROBERT RAUSCHENBERG (American, 1925–2008)
Untitled
1959
Tin can, pocket watch, and chain
3 1/4 × 2 1/2 × 3" (8.3 × 6.4 × 7.6 cm) Thomas H. Lee and Ann Tenenbaum
Painting with Grey Wing
1959
Oil, printed reproductions, unpainted paint-by-number board, typed print on paper, photographs, fabric, stuffed bird wing, and dime on canvas
32 × 21 1/2 × 1 1/2" (81.3 × 54.6 × 3.8 cm)
The Museum of Contemporary Art, Los Angeles
The Panza Collection
ROBERT RAUSCHENBERG (American, 1925–2008)
Sketch for Monogram
1959
Watercolor and graphite on paper
19 1/8 x 11 3/8" (48.6 x 28.9 cm)
Robert Rauschenberg Foundation, New York
ROBERT RAUSCHENBERG (American, 1925–2008)
Summerstorm
1959
Oil, pencil, paper, printed reproductions, wood, fabric, necktie, and metal zipper on canvas, three panels
79 × 63 × 2 1/2" (200.7 × 160 × 6.4 cm)
Ovitz Family Collection, Los Angeles
ROBERT RAUSCHENBERG (American, 1925–2008)
Untitled
1959
Tin can, pocket watch, and chain
3 1/4 × 2 1/2 × 3" (8.3 × 6.4 × 7.6 cm) Thomas H. Lee and Ann Tenenbaum
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04 Dante and Classical Past
ROBERT RAUSCHENBERG (American, 1925–2008)
Winter Pool
1959
Oil, paper, fabric, wood, metal, sandpaper, tape, printed paper, printed reproductions, fragments of a man's shirt, handkerchief, handheld wood bellows, and found painting on two canvases conjoined by wood ladder
90 1/2 × 59 1/2 × 4" (229.9 × 151.1 × 10.2 cm)
The Metropolitan Museum of Art, New York. Gift of Steven and Alexandra Cohen, and Purchase, Lila Acheson Wallace Gift, Bequest of Gioconda King,
by exchange, Anonymous Gift and Gift of Sylvia de Cuevas, by exchange, Janet Lee Kadesky Ruttenberg Fund, in memory of William S. Lieberman, Mayer Fund, Norman M. Leff Bequest, and George A. Hearn and Kathryn E. Hurd Funds
JASPER JOHNS (American, born 1930)
Painted Bronze
1960
Oil on bronze
5 1/2 × 8 × 4 3/4" (14 × 20.3 × 12.1 cm) Component: 4 3/4 × 2 11/16" (12 × 6.8 cm) 3/4 × 8 × 4 3/4" (1.9 × 20.3 × 12.1 cm) Museum Ludwig, Cologne. Ludwig Collection
Winter Pool
1959
Oil, paper, fabric, wood, metal, sandpaper, tape, printed paper, printed reproductions, fragments of a man's shirt, handkerchief, handheld wood bellows, and found painting on two canvases conjoined by wood ladder
90 1/2 × 59 1/2 × 4" (229.9 × 151.1 × 10.2 cm)
The Metropolitan Museum of Art, New York. Gift of Steven and Alexandra Cohen, and Purchase, Lila Acheson Wallace Gift, Bequest of Gioconda King,
by exchange, Anonymous Gift and Gift of Sylvia de Cuevas, by exchange, Janet Lee Kadesky Ruttenberg Fund, in memory of William S. Lieberman, Mayer Fund, Norman M. Leff Bequest, and George A. Hearn and Kathryn E. Hurd Funds
JASPER JOHNS (American, born 1930)
Painted Bronze
1960
Oil on bronze
5 1/2 × 8 × 4 3/4" (14 × 20.3 × 12.1 cm) Component: 4 3/4 × 2 11/16" (12 × 6.8 cm) 3/4 × 8 × 4 3/4" (1.9 × 20.3 × 12.1 cm) Museum Ludwig, Cologne. Ludwig Collection
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05 Performance and Objects
MERCE CUNNINGHAM (American, 1919–2009) ROBERT RAUSCHENBERG (American, 1925–2008) JOHN CAGE (American, 1912–1992)
Antic Meet
1958/1964
16mm film transferred to video (black and white, sound) Editing and installation by Charles Atlas
1:56 min.; 3 min.
Courtesy Electronic Arts Intermix, New York
ROBERT BREER (American, 1926–2011)
Homage to Jean Tinguely's "Homage to New York"
1960
16mm film transferred to video (black and white, sound) Courtesy Light Cone and the Robert Breer Estate
MARCEL DUCHAMP (American, born France. 1887–1968)
Bottle Rack
1960 (third version, after lost 1914 original) Galvanized iron
23 1/4 × 14 1/2 × 14 1/2" (59.1 × 36.8 × 36.8 cm) Robert Rauschenberg Foundation, New York
ROBERT RAUSCHENBERG (American, 1925–2008)
Pilgrim
1960
Oil, graphite, paper, printed paper, and fabric on canvas with painted wood chair
79 1/4 x 53 7/8 x 18 5/8" (201.3 x 136.8 x 47.3 cm)
Kravis Collection
Antic Meet
1958/1964
16mm film transferred to video (black and white, sound) Editing and installation by Charles Atlas
1:56 min.; 3 min.
Courtesy Electronic Arts Intermix, New York
ROBERT BREER (American, 1926–2011)
Homage to Jean Tinguely's "Homage to New York"
1960
16mm film transferred to video (black and white, sound) Courtesy Light Cone and the Robert Breer Estate
MARCEL DUCHAMP (American, born France. 1887–1968)
Bottle Rack
1960 (third version, after lost 1914 original) Galvanized iron
23 1/4 × 14 1/2 × 14 1/2" (59.1 × 36.8 × 36.8 cm) Robert Rauschenberg Foundation, New York
ROBERT RAUSCHENBERG (American, 1925–2008)
Pilgrim
1960
Oil, graphite, paper, printed paper, and fabric on canvas with painted wood chair
79 1/4 x 53 7/8 x 18 5/8" (201.3 x 136.8 x 47.3 cm)
Kravis Collection
5/12/2017
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05 Performance and Objects
ROBERT RAUSCHENBERG (American, 1925–2008)
The Money Thrower for Tinguely’s H.T.N.Y. (Homage to New York)
1960
Electric heater with gun powder, metal springs, twine, and silver dollars. 6 3/4 × 22 1/2 × 4" (17.1 × 57.2 × 10.2 cm)
Moderna Museet, Stockholm.
Gift of Pontus Hultén
JEAN TINGUELY (Swiss, 1925–1991)
Fragment from Homage to New York
1960
Painted metal, fabric, tape, wood, and rubber tires
6' 8 1/4" x 29 5/8" x 7' 3 7/8" (203.7 x 75.1 x 223.2 cm) The Museum of Modern Art, New York. Gift of the artist
JEAN TINGUELY (Swiss, 1925–1991)
Homage to New York drawing
1960
Pencil, ink, and felt-tip pen on paper
15 7/8 x 18" (40.4 x 45.7 cm)
The Museum of Modern Art, New York. Committee on Drawings Funds
JASPER JOHNS (American, born 1930)
15' Entr'acte
1961
Oil, encaustic, and collage on canvas
35 7/16 × 25 9/16" (90 × 65 cm)
Frame: 37 3/8 × 26 3/4 × 1 3/8" (95 × 68 × 3.5 cm) Museum Ludwig, Cologne. Donation Ludwig
The Money Thrower for Tinguely’s H.T.N.Y. (Homage to New York)
1960
Electric heater with gun powder, metal springs, twine, and silver dollars. 6 3/4 × 22 1/2 × 4" (17.1 × 57.2 × 10.2 cm)
Moderna Museet, Stockholm.
Gift of Pontus Hultén
JEAN TINGUELY (Swiss, 1925–1991)
Fragment from Homage to New York
1960
Painted metal, fabric, tape, wood, and rubber tires
6' 8 1/4" x 29 5/8" x 7' 3 7/8" (203.7 x 75.1 x 223.2 cm) The Museum of Modern Art, New York. Gift of the artist
JEAN TINGUELY (Swiss, 1925–1991)
Homage to New York drawing
1960
Pencil, ink, and felt-tip pen on paper
15 7/8 x 18" (40.4 x 45.7 cm)
The Museum of Modern Art, New York. Committee on Drawings Funds
JASPER JOHNS (American, born 1930)
15' Entr'acte
1961
Oil, encaustic, and collage on canvas
35 7/16 × 25 9/16" (90 × 65 cm)
Frame: 37 3/8 × 26 3/4 × 1 3/8" (95 × 68 × 3.5 cm) Museum Ludwig, Cologne. Donation Ludwig
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05 Performance and Objects
ROBERT RAUSCHENBERG (American, 1925–2008)
Black Market
1961
Oil, watercolor, pencil, paper, fabric, newspaper, printed paper, printed reproductions, wood, metal, tin, street sign, license plate, and four metal clipboards on canvas, with rope, chain, and wood suitcase containing rubber stamp, ink pad, and typed instructions regarding variable objects given and taken by viewers
50 × 59 13/16 × 4 3/4" (127 × 152 × 12 cm)
Musem Ludwig, Cologne. Donation Ludwig
ROBERT RAUSCHENBERG (American, 1925–2008)
First Time Painting
1961
Oil, paper, fabric, sailcloth, plastic exhaust cap, alarm clock, sheet metal, adhesive tape, metal springs, wire, and string on canvas
76 3/4 × 51 1/4 × 8 7/8" (194.9 × 130.2 × 22.5 cm)
Staatliche Museen zu Berlin, Nationalgalerie, Marx Collection
ROBERT RAUSCHENBERG (American, 1925–2008)
Pantomime
1961
Oil, enamel, paper, fabric, wood, metal, rubber wheel, and electric fans on canvas
84 × 60 × 20" (213.4 × 152.4 × 50.8 cm)
Private collection
ROBERT RAUSCHENBERG (American, 1925–2008)
This is a Portrait of Iris Clert, If I Say So
1961
Telegram
4 9/16 × 5 1/16" (11.6 × 12.9 cm) Ahrenberg Family, Switzerland
Black Market
1961
Oil, watercolor, pencil, paper, fabric, newspaper, printed paper, printed reproductions, wood, metal, tin, street sign, license plate, and four metal clipboards on canvas, with rope, chain, and wood suitcase containing rubber stamp, ink pad, and typed instructions regarding variable objects given and taken by viewers
50 × 59 13/16 × 4 3/4" (127 × 152 × 12 cm)
Musem Ludwig, Cologne. Donation Ludwig
ROBERT RAUSCHENBERG (American, 1925–2008)
First Time Painting
1961
Oil, paper, fabric, sailcloth, plastic exhaust cap, alarm clock, sheet metal, adhesive tape, metal springs, wire, and string on canvas
76 3/4 × 51 1/4 × 8 7/8" (194.9 × 130.2 × 22.5 cm)
Staatliche Museen zu Berlin, Nationalgalerie, Marx Collection
ROBERT RAUSCHENBERG (American, 1925–2008)
Pantomime
1961
Oil, enamel, paper, fabric, wood, metal, rubber wheel, and electric fans on canvas
84 × 60 × 20" (213.4 × 152.4 × 50.8 cm)
Private collection
ROBERT RAUSCHENBERG (American, 1925–2008)
This is a Portrait of Iris Clert, If I Say So
1961
Telegram
4 9/16 × 5 1/16" (11.6 × 12.9 cm) Ahrenberg Family, Switzerland
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05 Performance and Objects
ROBERT RAUSCHENBERG (American, 1925–2008)
Trophy IV (for John Cage)
1961
Metal rod, cut pipe, aluminum sheet, leather boot, wood, tire tread, chain, metal flashlight, tape, and paint on wooden platform
33 × 82 × 21" (83.8 × 208.3 × 53.3 cm)
San Francisco Museum of Modern Art. Purchase through a gift of Phyllis C. Wattis
NIKI DE SAINT PHALLE (French, 1930–2002)
Shooting Painting American Embassy
1961
Paint, plaster, wood, plastic bags, shoe, twine, metal seat, axe, metal can, toy gun, wire mesh, shot pellets, and other objects on wood
96 3/8 x 25 7/8 x 8 5/8" (244.8 x 65.7 x 21.9 cm)
The Museum of Modern Art, New York. Gift of the Niki Charitable Art Foundation
HARRY SHUNK (German, 1924–2006)
JÁNOS KENDER (Hungarian, 1937–2009)
Robert Rauschenberg and Jean Tinguely performing at the theater of the American Embassy, Paris, June 20, 1961; works visible include Niki de Saint Phalle’s Shooting Painting American Embassy, Jasper Johns’s Floral Target, and Rauschenberg’s First Time Painting
1961
Gelatin silver print
6 × 9 1/4" (15.2 × 23.5 cm)
Robert Rauschenberg Foundation, New York
HARRY SHUNK (German, 1924–2006)
JÁNOS KENDER (Hungarian, 1937–2009)
Robert Rauschenberg and Jean Tinguely performing at the theater of the American Embassy, Paris, June 20, 1961; works visible include Niki de Saint Phalle’s Shooting Painting American Embassy, Jasper Johns’s Floral Target, and Rauschenberg’s First Time Painting
1961
Gelatin silver print
7 1/4 × 9 1/2" (18.4 × 24.1 cm)
Robert Rauschenberg Foundation, New York
Trophy IV (for John Cage)
1961
Metal rod, cut pipe, aluminum sheet, leather boot, wood, tire tread, chain, metal flashlight, tape, and paint on wooden platform
33 × 82 × 21" (83.8 × 208.3 × 53.3 cm)
San Francisco Museum of Modern Art. Purchase through a gift of Phyllis C. Wattis
NIKI DE SAINT PHALLE (French, 1930–2002)
Shooting Painting American Embassy
1961
Paint, plaster, wood, plastic bags, shoe, twine, metal seat, axe, metal can, toy gun, wire mesh, shot pellets, and other objects on wood
96 3/8 x 25 7/8 x 8 5/8" (244.8 x 65.7 x 21.9 cm)
The Museum of Modern Art, New York. Gift of the Niki Charitable Art Foundation
HARRY SHUNK (German, 1924–2006)
JÁNOS KENDER (Hungarian, 1937–2009)
Robert Rauschenberg and Jean Tinguely performing at the theater of the American Embassy, Paris, June 20, 1961; works visible include Niki de Saint Phalle’s Shooting Painting American Embassy, Jasper Johns’s Floral Target, and Rauschenberg’s First Time Painting
1961
Gelatin silver print
6 × 9 1/4" (15.2 × 23.5 cm)
Robert Rauschenberg Foundation, New York
HARRY SHUNK (German, 1924–2006)
JÁNOS KENDER (Hungarian, 1937–2009)
Robert Rauschenberg and Jean Tinguely performing at the theater of the American Embassy, Paris, June 20, 1961; works visible include Niki de Saint Phalle’s Shooting Painting American Embassy, Jasper Johns’s Floral Target, and Rauschenberg’s First Time Painting
1961
Gelatin silver print
7 1/4 × 9 1/2" (18.4 × 24.1 cm)
Robert Rauschenberg Foundation, New York
5/12/2017
Robert Rauschenberg: Among Friends
Page 41 of 71
05 Performance and Objects
DAVID TUDOR (American, 1926–1996)
"Nomographs" designed for a realization of John Cage's Variations II
1961
Ink on cardboard
Each: 2 1/8 × 11 3/4" (5.4 × 29.8 cm)
The Getty Research Institute, Los Angeles
ROBERT RAUSCHENBERG (American, 1925–2008)
Ace
1962
Oil, paper, cardboard, paint-can label, umbrella, doorknob, fabric, wood, nails, and metal on canvas, five panels
Overall: 108 × 240 × 7 1/2" (274.3 × 609.6 × 19.1 cm)
Albright-Knox Art Gallery. Gift of Seymour H. Knox. Jr.
ROBERT RAUSCHENBERG (American, 1925–2008)
Pelican
1963
16mm film transferred to video (black and white, sound) Editing and installation by Charles Atlas
2:13 min.
Robert Rauschenberg Foundation, New York
ROBERT RAUSCHENBERG (American, 1925–2008) ALEX HAY (American, born 1930)
Gold Standard
1964
Oil, paper, printed reproductions, metal speedometer, cardboard box, metal, fabric, wood, string, pair of men's leather boots, and Coca-Cola bottles on gold fabric folding Japanese screen with electric light, rope, and ceramic dog on bicycle seat and wire-mesh base
84 1/4 × 142 1/8 × 51 1/4" (214 × 361 × 130.2 cm) Glenstone
"Nomographs" designed for a realization of John Cage's Variations II
1961
Ink on cardboard
Each: 2 1/8 × 11 3/4" (5.4 × 29.8 cm)
The Getty Research Institute, Los Angeles
ROBERT RAUSCHENBERG (American, 1925–2008)
Ace
1962
Oil, paper, cardboard, paint-can label, umbrella, doorknob, fabric, wood, nails, and metal on canvas, five panels
Overall: 108 × 240 × 7 1/2" (274.3 × 609.6 × 19.1 cm)
Albright-Knox Art Gallery. Gift of Seymour H. Knox. Jr.
ROBERT RAUSCHENBERG (American, 1925–2008)
Pelican
1963
16mm film transferred to video (black and white, sound) Editing and installation by Charles Atlas
2:13 min.
Robert Rauschenberg Foundation, New York
ROBERT RAUSCHENBERG (American, 1925–2008) ALEX HAY (American, born 1930)
Gold Standard
1964
Oil, paper, printed reproductions, metal speedometer, cardboard box, metal, fabric, wood, string, pair of men's leather boots, and Coca-Cola bottles on gold fabric folding Japanese screen with electric light, rope, and ceramic dog on bicycle seat and wire-mesh base
84 1/4 × 142 1/8 × 51 1/4" (214 × 361 × 130.2 cm) Glenstone
5/12/2017
Robert Rauschenberg: Among Friends
Page 42 of 71
05 Performance and Objects
5/12/2017
Robert Rauschenberg: Among Friends
Page 43 of 71
ROBERT RAUSCHENBERG (American, 1925–2008)
Map Room II
1965
16mm film transferred to video (black and white, silent) Editing and installation by Charles Atlas
2:53 min.
Robert Rauschenberg Foundation, New York
Map Room II
1965
16mm film transferred to video (black and white, silent) Editing and installation by Charles Atlas
2:53 min.
Robert Rauschenberg Foundation, New York
06 Silkscreens and Oracle
ROBERT RAUSCHENBERG (American, 1925–2008)
Merce Cunningham Company rehearsing "Aeon"
1961
Photograph, digital print on paper
Image: 8 × 10" (20.3 × 25.4 cm)
Merce Cunningham Dance Foundation, Inc. records, Additions. Jerome Robbins Dance Division, New York Public Library, Astor, Lennox, and Tilden Foundations
ROBERT RAUSCHENBERG (American, 1925–2008)
Crocus
1962
Oil and silkscreen on canvas 60 x 36" (152.4 x 91.4 cm) Private Collection
ROBERT RAUSCHENBERG (American, 1925–2008) TOBY FITCH
HAROLD HODGES
BILLY KLÜVER (Swedish, 1927–2004)
Oracle
1962-65
Five-part found-metal assemblage with five concealed remote-controlled radios: exhaust pipe on metal axle and pushcart wheels; automobile door on wheeled typewriter table, with crushed metal; ventilation duct, water, and concealed showerhead in washtub on wheels, with chain, wire basket, and metal lid on wheels; constructed staircase control unit housing automobile tire and batteries and other electronic components on wheels; and wooden window frame with ventilation duct on wood support with wheels
Dimensions variable
Musée National d’Art Moderne, Centre Pompidou, Paris. Gift of Mr. and Mrs. Pierre Schlumberger
ANDY WARHOL (American, 1928–1987)
Let Us Now Praise Famous Men (Rauschenberg Family)
1962
Silk-screen on canvas
81 15/16 × 81 15/16" (208.2 × 208.2 cm)
National Gallery of Art, Washington, D.C. Gift of Mr. and Mrs. William Howard Adams and Patrons’ Permanent Fund
Merce Cunningham Company rehearsing "Aeon"
1961
Photograph, digital print on paper
Image: 8 × 10" (20.3 × 25.4 cm)
Merce Cunningham Dance Foundation, Inc. records, Additions. Jerome Robbins Dance Division, New York Public Library, Astor, Lennox, and Tilden Foundations
ROBERT RAUSCHENBERG (American, 1925–2008)
Crocus
1962
Oil and silkscreen on canvas 60 x 36" (152.4 x 91.4 cm) Private Collection
ROBERT RAUSCHENBERG (American, 1925–2008) TOBY FITCH
HAROLD HODGES
BILLY KLÜVER (Swedish, 1927–2004)
Oracle
1962-65
Five-part found-metal assemblage with five concealed remote-controlled radios: exhaust pipe on metal axle and pushcart wheels; automobile door on wheeled typewriter table, with crushed metal; ventilation duct, water, and concealed showerhead in washtub on wheels, with chain, wire basket, and metal lid on wheels; constructed staircase control unit housing automobile tire and batteries and other electronic components on wheels; and wooden window frame with ventilation duct on wood support with wheels
Dimensions variable
Musée National d’Art Moderne, Centre Pompidou, Paris. Gift of Mr. and Mrs. Pierre Schlumberger
ANDY WARHOL (American, 1928–1987)
Let Us Now Praise Famous Men (Rauschenberg Family)
1962
Silk-screen on canvas
81 15/16 × 81 15/16" (208.2 × 208.2 cm)
National Gallery of Art, Washington, D.C. Gift of Mr. and Mrs. William Howard Adams and Patrons’ Permanent Fund
5/12/2017
Robert Rauschenberg: Among Friends
Page 44 of 71
06 Silkscreens and Oracle
ROBERT RAUSCHENBERG (American, 1925–2008)
Cove
1963
Oil and silk-screen-ink print on canvas 72 × 36" (182.9 × 91.4 cm)
Collection Jasper Johns
ROBERT RAUSCHENBERG (American, 1925–2008)
Estate
1963
Oil and silkscreen-ink print on canvas
95 3/4 x 69 3/4" (243.2 x 177.2 cm)
Philadelphia Museum of Art. Gift of the Friends of the Philadelphia Museum of Art, 1967
ROBERT RAUSCHENBERG (American, 1925–2008)
Kite
1963
Oil and silkscreen-ink print on canvas 84 × 60" (213.4 × 152.4 cm)
The Sonnabend Collection Foundation
ROBERT RAUSCHENBERG (American, 1925–2008)
Overdrive
1963
Oil and silkscreen ink on canvas
84 x 60" (213.4 x 152.4 cm) Promised gift of Glenn and Eva Dubin
Cove
1963
Oil and silk-screen-ink print on canvas 72 × 36" (182.9 × 91.4 cm)
Collection Jasper Johns
ROBERT RAUSCHENBERG (American, 1925–2008)
Estate
1963
Oil and silkscreen-ink print on canvas
95 3/4 x 69 3/4" (243.2 x 177.2 cm)
Philadelphia Museum of Art. Gift of the Friends of the Philadelphia Museum of Art, 1967
ROBERT RAUSCHENBERG (American, 1925–2008)
Kite
1963
Oil and silkscreen-ink print on canvas 84 × 60" (213.4 × 152.4 cm)
The Sonnabend Collection Foundation
ROBERT RAUSCHENBERG (American, 1925–2008)
Overdrive
1963
Oil and silkscreen ink on canvas
84 x 60" (213.4 x 152.4 cm) Promised gift of Glenn and Eva Dubin
5/12/2017
Scanning
1963
Oil and silk-screen-ink print on canvas
55 3/4 x 73" (141.6 x 185.4 cm)
San Francisco Museum of Modern Art. Fractional and promised gift of Helen and Charles Schwab
ROBERT RAUSCHENBERG (American, 1925–2008)
Tracer
1963
Oil and silkscreen-ink print on canvas
84 × 60" (213.4 × 152.4 cm)
The Nelson-Atkins Museum of Art, Kansas City, Missouri. Purchase: Nelson Gallery Foundation
ROBERT RAUSCHENBERG (American, 1925–2008)
Persimmon
1964
Oil and silk-screen-ink print on canvas 66 x 50” (167.6 x 127 cm)
Collection Jean-Christophe Castelli
Press
1964
Oil and silk-screen-ink print on canvas
84 × 60" (213.4 × 152.4 cm)
Collection Samuel and Ronnie Heyman, Palm Beach, Florida
ROBERT RAUSCHENBERG (American, 1925–2008)
Retroactive I
1964
Oil and silk-screen-ink print on canvas
84 × 60" (213.4 × 152.4 cm)
Frame: 84 3/4 × 60 3/4 × 2" (215.3 × 154.3 × 5.1 cm)
Wadsworth Atheneum Museum of Art, Hartford, CT. Gift of Susan Morse Hilles
Retroactive I
1964
Oil and silk-screen-ink print on canvas
84 × 60" (213.4 × 152.4 cm)
Frame: 84 3/4 × 60 3/4 × 2" (215.3 × 154.3 × 5.1 cm)
Wadsworth Atheneum Museum of Art, Hartford, CT. Gift of Susan Morse Hilles