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.
« Previous Section
Next Section »
Soviet/American Array: Part I, Politics and Friendships
The imagery of eroticism is as ancient as art itself. These works embody a spectrum of representations of sexual identity, from the intimate to the more graphic. While demonstrating how erotic imagery enriches culture, these works address, inform, and contribute to social and political discussions of gender and sexuality.
My flesh tells the time marked by real people who are all still living. Part of the project [of Carnal Clocks] was embarrassment as a medium, because it was about my working out my shyness to photograph my friends’ intimate parts.
— Robert Rauschenberg
« Previous Section
Next Section »
Soviet/American Array: Part I, Politics and Friendships
