#rauschenbergweek

"Cardbird VII" 1971 collage print (color photo offset on cardboard) by Robert Rauschenberg (1925-2008) at @columbusmuseum the Columbus Museum of Art. Written near the piece: "Cardbird VII” is simply an arrangement of bits of cardboard boxes found in the artist's studio, flattened and nailed to the wall. Only it isn't. Examine the work closely, and the stamps and creases of the various elements reveal themselves to be photographic images mounted on cardboard. Rauschenberg's visual trick falls into a tradition of painting intended to be so realistic that it deceives the eye (or "trompe l'oeil" in French), playfully raising a larger question: What are the boundaries between a representation and the real? #rauschenberg #robertrauschenberg #cardbird #columbusmuseumofart #collage #rauschenbergweek ➡️ Thanks to those who visited during this past week’s exploration of the sculpture near the Block Museum on the Northwestern University campus in Evanston. Your ❤️s and 🗯s are greatly appreciated. For the next 10 days or so, stay tuned for some work by Robert Rauschenberg as we enter the final three months of this 🎨project. Please tell your friends to check out this feed. 👯👫👯‍♂️👫👯‍♂️🕺🏿👬🚶🏽👭🕴🏾👬🏃👯‍♂️👯‍♂️👯👬🏃👬🕺🏿🏃🏿‍♀️👬👭👫👯‍♂️👯👯‍♂️🏃👯🚶‍♀️😊 (at Columbus Museum of Art)

"Factum I and II" 1957 oil, ink, pencil, paper, fabric, newspaper, printed reproductions, and printed paper on canvas by Robert Rauschenberg (1925-2008) at @themuseumofmodernart the Museum of Modern Art in New York. Written near the painting: Despite being titled sequentially, "Factum I" and "Factum II" were painted simultaneously, and Rauschenberg was explicit that "neither one of these paintings was an imitation of the other." His aim was to explore "the role that accident played in my work...I wanted to see how different, and in what way, would be two different paintings that looked that much alike." Although Rauschenberg claimed not to be able to see any difference between the two completed works, subtle variations are visible when the paintings are observed together. Of Rauschenberg's plays with visual perception, John Cage wrote, "Everything is so much the same, one becomes acutely aware of the differences, and quickly." #rauschenberg #robertrauschenberg #factum #combinepainting #simultaneouspaintings #rauschenbergweek (at MoMA The Museum of Modern Art)

"IC-UC Summer Glut" 1988 assembled aluminum and steel by Robert Rauschenberg (1925-2008) at @themuseumofmodernart the Museum of Modern Art in New York. #rauschenberg #robertrauschenberg #summerglut #rauschenbergweek #moma #museumofmodernart #aluminumandsteel (at MoMA The Museum of Modern Art)

"For a Friend and Krazy Kat (Spread)" 1976 silkscreen, solvent transfer, and printed fabric on wood panels by Robert Rauschenberg (1925-2008) at @themuseumofmodernart the Museum of Modern Art in New York. Written near the piece: Rauschenberg made this work in honor of his friend the Swedish artist Öyvind Fahlström, following his untimely death in 1976. This is one in a series of works that Rauschenberg called "Spreads," a moniker with a host of associations: "'Spread' means as far as I can make it stretch," he explained, "and land (like a farmer's 'spread') and also the stuff you put on toast." Here, Rauschenberg spread the image of a Swedish flag across the three left panels. On the right, in another reference to his departed friend, he silkscreened images from the popular Sunday comic "Krazy Kat," a frequent subject in Fahlström's work. #robertrauschenberg #rauschenberg #rauschenbergweek #foundart #painting #oyvindfahlstrom #krazykat #moma #museumofmodernart (at MoMA The Museum of Modern Art)

"Rebus" 1955 oil, synthetic polymer paint, pencil, crayon, pastel, paper paint chips, printed and painted paper, newspaper, journal, poster clippings, comic strips, drawing by Cy Twombly, and fabric on canvas, mounted and stapled to fabric, three panels by Robert Rauschenberg (1925-2008) at @themuseumofmodernart the Museum of Modern Art in New York. Written near the piece: Rauschenberg gathered many of the materials featured in "Rebus" from and near his studio on Fulton Street, in Lower Manhattan, later describing the work as "a concentration of that particular week in that particular neighborhood." He arranged his findings atop studio drop cloths, usually used to catch spills, dust, and debris that might sully the floor. The composition is unified by a spectrum of color, made of 117 commercial paint samples. In the lower middle panel, he included a drawing by his friend Cy Twombly, who often worked in Rauschenberg's studio. Rauschenberg named "Rebus" after a game in which words and pictures can be used interchangeably. #moma #museumofmodernart #robertrauschenberg #rauschenberg #cytwombly #rebus #rauschenbergweek (at MoMA The Museum of Modern Art)