Rauschenberg: Collecting & Connecting is installed in eight thematic sections: 1. Black and White (with Red): Variations on the Monochrome; 2. North Carolina and Italy: Rauschenberg’s Photographs, 1949–52; 3. Rock Paper Scissors: Materiality, Process, Society; 4. Light, Mirror, and Mirage: Capturing Ephemeral Nature; 5. Auditions in the Carnal House: Picturing Eroticism; 6. Soviet/American Array: Part I, Politics and Friendships; 7. Soviet/American Array: Part II, Cacophony of Cultures; and 8. Bruce Conner One Man Show (with Rauschenberg): A Visual Dialogue.
Descriptive texts are accompanied by a sampling of works from each section. A complete illustrated exhibition checklist and installation photography are also available for viewing.
Materiality and process reside at the foundation and execution of every work of art. From the beginning of his career, Rauschenberg demonstrated an acute sensitivity to the value and dignity of materials. Creating stark monochrome paintings, erased drawings, sculptures comprised of elemental units with participatory potential, and grass and dirt paintings, all between 1951 and 1953, Rauschenberg’s work anticipated minimal, conceptual, and process art. The artists presented here share with Rauschenberg an interest in harnessing rudimentary materials to explore social, political, and cultural modes of visual discourse.
I put my trust in the materials that confront me because they put me in touch with the unknown.
— Robert Rauschenberg
1. Bruce Conner, WHEEL COLLAGE, 1958