Robert Rauschenberg is one of the most important visual artists of the second half of the twentieth century. In Random Order, Branden Joseph examines Rauschenberg's work in the context of the American neo-avant-garde. One of the foundations of his study is Rauschenberg's professional relationship with experimental composer John Cage. From the moment of their encounter at Black Mountain College in 1952, Joseph argues, Rauschenberg and Cage initiated a new avant-garde project, one that approached the idea of difference not in terms of negation but as a positive force. Claiming that Rauschenberg's work cannot be understood solely from the standpoint of the Frankfurt School--whose theories have dominated discussions of avant-garde and neo-avant-garde aesthetics--Joseph turns to the theoretical positions of Gilles Deleuze and Jacques Derrida. Rauschenberg's neo-avant-garde was not a simple repetition of earlier avant-garde movements, Joseph shows, but a series of practices that opposed the rise of postwar spectacle, commodification, and mass conformity.Beginning with the White Paintings, Joseph examines Rauschenberg?s artistic development from 1951 to 1971. He looks at the black paintings, Red Paintings, Elemental Paintings and Elemental Sculptures, Combines and Combine paintings, transfer drawings and silkscreens, performances, and explorations in art and technology. Joseph?s study not only offers new interpretations of Rauschenberg?s work, but also deepens our understanding of the entire neo-avant-garde project.

Random Order: Robert Rauschenberg and the Neo-Avant-Garde (October Books)

Arts & Photography

Rauschenberg, Robert

Joseph, Branden W.

Individual Artists

Mit Pr

Throughout his illustrious career, Robert Rauschenberg has consistently challenged the prevailing ideologies and techniques of the art world. One of our greatest American artists, he redefined what materials were suitable for art, boldly rebelling against the predominant abstract expressionism of the time. This insightful analysis into Rauschenberg's work and life examines his bravery in pushing beyond technical and aesthetic frontiers as well as his influential dissemination of photography, film, and television, which altered the genre of traditional painting. Rauschenberg's seminal works--from his "combines" (urban trash on painted surfaces) to his silk screens--are reproduced here in full color. The author also discusses some of the artist's more recent projects, including ROCI, Rauschenberg's own exhibition organization that showcases diverse artists from all over the world. Through beautiful photography and authoritative text, here is a well-rounded overview of one of the world's most pivotal artists.

ROBERT RAUSCHENBERG

Pantheon

This book is in very good condition.

Robert Rauschenberg : A Retrospective

Solomon R. Guggenheim Museum

Brown, Tricia

Krauss, Rosalind E.

SPECTOR, Nancy

Hopps, Walter

Fine, Ruth E.

Martin, Julie

Kluver, Billy

Paxton, Steve

Stuckey, Charles F.

Davidson, Susan

Collections, Catalogs & Exhibitions

Guggenheim Museum Pubns

"Robert Rauschenberg is one of the greatest sculptors of out time both in the heart of what he has made and in the extensions of its possibilities. (...) In organizing the exhibition I decided to focus only on those works which had no painting element." (Julia Brown Turrell)

Rauschenberg Sculpture

Turrell, Julia, with White, David (Curated by)

Modern Art Museum of Fort Worth

Robert Rauschenberg, Work from Four Series: A Sesquicentennial Exhibition

Cathcart, Linda L.

Mayo, Marti

Contemporary Arts Museum

Throughout his illustrious career, Robert Rauschenberg has consistently challenged the prevailing ideologies and techniques of the art world. One of our greatest American artists, he redefined what materials were suitable for art, boldly rebelling against the predominant abstract expressionism of the time. This insightful analysis into Rauschenberg's work and life examines his bravery in pushing beyond technical and aesthetic frontiers as well as his influential dissemination of photography, film, and television, which altered the genre of traditional painting.Rauschenberg's seminal works--from his "combines" (urban trash on painted surfaces) to his silk screens--are reproduced here in full color. The author also discusses some of the artist's more recent projects, including ROCI, Rauschenberg's own exhibition organization that showcases diverse artists from all over the world. Through beautiful photography and authoritative text, here is a well-rounded overview of one of the world's most pivotal artists.

Rauschenberg: Arcadian retreats : September 19-October 18, 1997, PaceWildenstein

Rose, Bernice

PaceWildenstein (Firm)

History & Criticism

PaceWildenstein

The catalogue for an exhibition of work by Robert Rauschenberg. Facsimile handwritten introduction by the artist. Unpaginated [44 pages with 2 gatefolds]; 19 full-page color plates + portrait of the artist; 9 x 12.75 inches.

Robert Rauschenberg: Anagrams (A Pun)

With a giant, soft drum set by Claes Oldenburg, a white alphabet by Jasper Johns, a combine painting with radio attached by Robert Rauschenburg, a halved peach, Buick, naked lady (all together) by James Rosenquist, rows of Campbell's soup cans by Andy Warhol, pin-up girls by Mel Ramos, and a graphic explosion by Roy Lichtenstein, the works gathered here pack more of a big bang than a mere pop. With signature pieces by the movement's stars, the John and Kimiko Powers Collection of Pop Art is considered one of the most extensive in private hands. Accompanied by individual essays on each of the represented artists.

Pop Art: The John And Kimiko Powers Collection

DINE, Jim

Hickey, Dave

Shapiro, David

Johns, Jasper

Rosenquist, James

Goldman, Judith

Rothkopf, Scott

OLDENBURG, Claes

Norden, Linda

RIVERS, Larry

Crone, Rainer

Schaesberg, Petrus Graf

Relyea, Lane

LICHTENSTEIN, Roy

Gilbert-Rolfe, Jeremy

Wesselmann, Tom

Ramos, Mel

GAGOSIAN GALLERY

Apogamy Pods consists of twelve paintings notable for their spare, elegant compositions. Rauschenberg chose "apogamy", asexual reproduction, for the title since he "wanted these paintings...to grow out of themselves, to contain their own contradictions and get rid of narrative, which is the sex of picture-making. Usually, the images in my paintings make narrative whether I intended them to or not. They have that kind of logic...I was really trying not to make narratives, to keep the images apart and have them relate the way real memories relate to one another, by their look, by their shape or their transparency, by their colors, and their atmospheres. It was very hard to do. The hardest thing since I erased Bill's drawing." Author and critic Dave Hickey contributed an essay to the accompanying exhibition catalogue. Referring to Rauschenberg's celebrated 1953 Erased De Kooning drawing, Dave Hickey writes, "(it was) an endeavor that was more about ingesting de Kooning's practice than destroying his drawing--an act of internalizing de Kooning as a farmer might enrich his fields with the remnants of last year's crop. Over the next forty years, Rauschenberg created his extravagant, proliferating rain forest of art...Now he is clearing the land again, this time of his own old growth. These days, Rauschenberg is erasing Rauschenberg."

Rauschenberg: Apogamy pods : November 17 to December 20, 2000

Published on the occasion of the exhibition: Robert Rauschenberg: Botanical Vaudeville at the Royal Botanic Garden Edinburgh, Inverleith House, Scotland (July 27-October 2, 2011)

Robert Rauschenberg: Botanical Vaudeville: Inverleith House, Royal Botanic Garden Edinburgh, 2011

Gagosian Gallery

Royal Botanic Garden, Edinburgh

Wingate, Ealan

Inverleith House

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