Each Lightbox features a curated selection of artworks and archival materials, providing a focused look at central themes and topics of interest. Click “View All” to see the full selection of images and expanded text. 

Rauschenberg and Cunningham

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Rauschenberg’s collaborative relationship with choreographer Merce Cunningham 

Dance in America: Merce Cunningham Dance Company, 1977
Antic Meet (1958), performed in 1964
Travelogue MC 1977
Excerpt from Merce Cunningham, The South Bank Show, 1980
Art of Performance
Robert Rauschenberg: The Art of Performance, 1997
Merce Cunningham Dancing
Antic Meet, 1958
Rauschenberg Black and White
Aeon (1961), performed in 1964
Cunningham World Tour, 1964
Interscape 2000
Interscape, 2000
Rauschenberg Note
Statement on Cunningham collaborations, 1974
Rauschenberg Tantric Geometry
Study for Tantric Geography, 1976
Minutiae 1954
Minutiae
Story by Robert Rauschenberg, 1964
Story

Art For Good

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Art for Good is an initiative to bring Rauschenberg’s artwork–and his generous spirit– to a new audience through carefully curated partnerships with major brands. 

Rauschenberg Collage Stops Signs and Birds
Overdrive
Sky Garden (Stoned Moon) 1969
Sky Garden (Stoned Moon)
Banner (Stoned Moon), 1969
Banner (Stoned Moon)
Watermelon Medley (Bifocal), 1982
Watermelon Medley (Bifocal)
Sri Lanka VI, 1983
Sri Lanka VI
Daydream / ROCI MEXICO, 1985
Daydream / ROCI MEXICO
Copperhead–Bite I / ROCI CHILE, 1985
Copperhead–Bite I / ROCI CHILE
Copperhead Chica / ROCI CHILE
Farm Garden (Jardin de Granja) / ROCI CUBA
Robert Rauschenberg, Cuban Diary (Diario Cubano) / ROCI CUBA
Cuban Diary (Diario Cubano) / ROCI CUBA
Robert Rauschenberg, Guardian Light (Guardian de la Luz) / ROCI CUBA
Guardian Light (Guardian de la Luz) / ROCI CUBA
Robert Rauschenberg, Rice Wine Dog, Tuak Hudok-Iban / ROCI MALAYSIA
Rice Wine Dog, Tuak Hudok-Iban / ROCI MALAYSIA
2 Koi Fish
Doubleluck

Trisha Brown and Rauschenberg’s Creative Alliance

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Trisha Brown and Rauschenberg's life-long friendship and performance collaborations.

Black and White Photo of Three Dancers with Play Button
Glacial Decoy (1979), performed in 1993
Image of Person Being Lifted by Three Men Onstage
Set and Reset (1983), performed in 1996
Foret Forêt (1990), performed in 1993
Astral Convertible (1989)
If You Couldn't See Me Video
If you couldn’t see me (1995)
Three Dancers
Glacial Decoy, 1979
Robert Rauschenberg Geometric Sculptures
Captiva, 1983
Rauschenberg and Trisha Brown Set and Reset
New York, 1983
Set designed by Rauschenberg for Trisha Brown Dance Company’s Lateral Pass (1985)
Lateral Pass (1985), 1987
Robert Rauschenberg and Susan Weil
Astral Convertible, 1989
Photographs of a Dancer
If you couldn’t see me, 1994
Statement on Trisha Brown, 1990
Rauschenberg Note about Working with Trisha Brown and Laurie Anderson
Statement on Set and Reset, 1982
Archival Sketch
Letter from Trisha Brown, undated
Glacial Decoy Series: Etching IV, 1979
Glacial Decoy Series: Etching IV
Untitled (Salvage), 1983
Untitled (Salvage)
Chrome Castle Glut (Neapolitan), 1987
Chrome Castle Glut (Neapolitan)

Creative Synergy: Art and Technology

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Rauschenberg’s dedication to art and technology crossover

The Money Thrower for Tinguely’s H.T.N.Y. 1960
The Money Thrower for Tinguely’s H.T.N.Y.
Art on Wheels
Broadway studio, 1965
Metal Pieces Artwork
Oracle
Preparing for 9 Evenings: Theatre & Engineering, 1966
9 Evenings: Theatre & Engineering, 1966
Poster for 9 Evenings: Theatre & Engineering, 1966
Poster for 9 Evenings: Theatre & Engineering
Audience Watches a Presentation in Auditorium
Open Score, 9 Evenings: Theater & Engineering, 1966
Rauschenberg performance materials
9 Evenings: Theatre & Engineering program (detail)
Rauschenberg writings on art and technology
E.A.T. booklet draft
Rauschenberg Open Score Note
Instructions for Open Score, 1966
Instructions for Open Score, 1966
Wall of Chairs
Soundings
Rauschenberg writings
Statement on radios, Oracle, Soundings, and Teledyne
Mud Muse, 1968–71
Mud Muse
Rauschenberg and engineer Billy Klüver working on Oracle (1962–65)
Oracle, Broadway studio, 1965
Rauschenberg Tire Sculpture
Oracle, Broadway studio, 1965

Rauschenberg as Choreographer

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Rauschenberg’s earliest explorations of avant-garde dance and performance 

"Myrna Loy Opens Canned Bayous"
Performance film clips compiled by Solomon R. Guggenheim Museum, New York, 1997
Black and White Photo of Onstage Performance
Linoleum, 1966
Audience Watches a Presentation in Auditorium
Open Score, 9 Evenings: Theater & Engineering, 1966
Rauschenberg Archival Note
Notes for Pelican (1963)
Rauschenberg Supplies List
Spring Training prop list, 1965
Rauschenberg Open Score Note
Instructions for Open Score, 1966
Robert Rauschenberg Note from the Archives
Notes for Linoleum, 1966
Pelican 1963
Pelican (1963), performed in 1965
Flag and Two Men
Linoleum, 1966
Black and White Photo of Badminton Rackets
Rackets for Open Score, 1966
Rauschenberg Spring Training
Spring Training, 1965
Rauschenberg Linoleum, 1966
Linoleum, 1966
Black and White Photo of Man Working
Map Room II, 1965

The Black Mountain Years: Experiments and Collaborations

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Rauschenberg’s encounters and collaborations with other artists at Black Mountain were critical to the development of his artistic sensibility. 

White Painting [two panel], 1951
White Painting [two panel]
Untitled [small vertical black painting], ca. 1951
Untitled [small vertical black painting]
Untitled (Night Blooming) 1951
Untitled (Night Blooming)
Robert Rauschenberg and Susan Weil
Black Mountain College, 1949
This Is the First Half of a Print Designed to Exist in Passing Time
This Is the First Half of a Print Designed to Exist in Passing Time
2 Wooden Chairs in a Ray of Sunlight
Quiet House—Black Mountain
Black and White Photo of Rauschenberg Adjusting Woman's Unicorn Costume
Black Mountain College, 1949
Postcard Self-Portrait, Black Mountain (II)
Robert Rauschenberg Portrait
Postcard Self-Portrait, Black Mountain (I)
Untitled [John Cage, Black Mountain], 1952
Untitled [John Cage, Black Mountain]
Robert Rauschenberg with White Painting
Untitled [portrait with four-panel White Painting, Black Mountain]
Black Mountain College, ca. 1951
Statement on Joseph Albers, undated

Transfer Drawings

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Rauschenberg’s transfer drawings combine imagery excerpted from printed mass media with hand drawn and painted passages to create pictorial poems.

Untitled (Mirror), 1952
Untitled (Mirror)
Cup 1958
Cup
Complete Relaxation, 1958
Complete Relaxation
Hallucination, 1960
Hallucination
Untitled, 1961
Untitled
Same Day Service, 1968
Same Day Service
Olympia, 1968
Olympia

Tethering: Wall to Floor — Painting to Sculpture

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Tethering wall and floor elements was a recurrent device used by Rauschenberg to blur and transcend the distinction between painting and sculpture.

Nettle by Robert Rauschenberg, 1960
Nettle
Black Market
Blue Eagle, 1961
Blue Eagle
Magician II, 1961
Magician II
Slug, 1961
Slug
1/2 Gals. / AAPCO (Cardboard), 1971
1/2 Gals. / AAPCO (Cardboard)
Glass / Channel / Via Panama (Cardboard), 1971
Glass / Channel / Via Panama (Cardboard)
Franciscan II
San Pantalone (Venetian) 1973
San Pantalone (Venetian)
White Sheet
Trowel (Jammer)
Gooey Duck Late Summer Glut, 1987
Gooey Duck Late Summer Glut

From Red Paintings to Combines

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In this lightbox, the Red Paintings (1953–54) explore the combination of paint, collage, and found objects that anticipate the three-dimensionality of Rauschenberg’s celebrated Combines begun shortly thereafter.

Robert Rauschenberg Red Artwork
Untitled (Red Painting)
Untitled (Red Painting), ca. 1953–54
Untitled (Red Painting)
Red Painting, 1954
Red Painting
Red Painting 1953-54
Red Interior
Red Import, 1954
Red Import
Untitled, 1954
Untitled
Robert Rauschenberg Orange and Red Stripes with Green Polka Dots
Yoicks
Collection by Robert Rauschenberg 1954/1955
Collection
Untitled
Charlene, 1954
Charlene
Minutiae 1954
Minutiae
Bantam, 1955
Bantam
Untitled, 1954
Untitled
Untitled

Posters

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This lightbox presents posters made for a variety of purposes over the course of Rauschenberg’s career: from those designed to advertise his own exhibitions and the work of his collaborators, to promotional pieces for the many social and political causes he supported.

Robert Rauschenberg Jewish Museum Poster
Poster for Robert Rauschenberg, The Jewish Museum
Robert Rauschenberg Mixed Media Collage
Poster for CORE (Congress of Racial Equality)
Dwan Gallery Poster 1965
Untitled [self-portrait for Dwan poster]
Poster for 9 Evenings: Theatre & Engineering, 1966
Poster for 9 Evenings: Theatre & Engineering
Earth Day Poster 1970
Earth Day
Poster for Dayton’s Gallery 12, 1970
Poster for Dayton’s Gallery 12
Yellow Square
Poster for Jammers Exhibition, Leo Castelli Gallery
Poster for Rauschenberg Retrospective, National Collection of Fine Arts, Smithsonian Institution, Washington, D.C., 1976
Poster for Rauschenberg Retrospective, National Collection of Fine Arts, Smithsonian Institution, Washington, D.C.
Poster for WOZA Afrika, 1986
Poster for WOZA Afrika
Earth Summit 1992
Last Turn—Your Turn [print for Earth Summit ’92 the United Nations Conference on Environment and Development, Rio de Janeiro, Brazil]
Poster for ROCI USSR, 1989
Poster for ROCI USSR
Rauschenberg's Poster for Habitat II 1996
Poster for Habitat II
Robert Rauschenberg A Retrospective
Poster for Guggenheim Retrospective

Tabula Rasa

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While Rauschenberg is known as a brilliant colorist, this lightbox explores the artist’s periodic retreat to low- or no-color artworks throughout his career.

White Painting [four panel], 1951
White Painting [four panel]
Erased de Kooning Drawing, 1953
Erased de Kooning Drawing
Untitled
Open Season
Baton Blanche (Cardboard), 1971
Baton Blanche (Cardboard)
Sant’Agnese (Venetian), 1973
Sant’Agnese (Venetian)
Egyptian Series 5, 1973
Egyptian Series 5
Rauschenberg Circle
Page 2 (Pages)
Untitled (Pyramid Series) 1974
Untitled (Pyramid Series)
Glacier (Hoarfrost), 1974
Glacier (Hoarfrost)
Vow (Jammer)
Niagara Summer Glut 1987
Niagara Summer Glut
Rauschenberg Off White Sketch
Time Scan (Phantom)

Paintings by Bob Rauschenberg at the Betty Parsons Gallery, New York

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This is a re-creation of Rauschenberg's first solo exhibition at the Betty Parsons Gallery, New York, May 14 - June 2, 1951.

22 The Lily White, ca. 1950
22 The Lily White
Mother of God
Crucifixion and Reflection, ca. 1950
Crucifixion and Reflection
Untitled, 1951
Untitled
Eden, 1950
Eden
Trinity, 1949
Trinity
Stone, Stone, Stone, ca. 1951
Stone, Stone, Stone
Should Love Come First Collage
Should Love Come First?