Exhibition

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Installation view, Rauschenberg: Collecting & Connecting, Nasher Museum of Art at Duke University, Durham, North Carolina, 2014–15. Work pictured: Robert Rauschenberg, The Ancient Incident (Kabal American Zephyr), 1981. Photo by Peter Paul Geoffrion.

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Installation view, Rauschenberg: Collecting & Connecting, Nasher Museum of Art at Duke University, Durham, North Carolina, 2014–15. Works pictured: Robert Rauschenberg, White Painting [seven panel], 1951; Ai Weiwei, Marble Chair, 2008; Vitaly Komar and Alexander Melamid, Stalin with Hitler’s Remains from the series Anarchistic Synthesism, 1985–86; Rauschenberg, Untitled [matte black triptych], ca. 1951. Photo by Peter Paul Geoffrion.

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Installation view, Rauschenberg: Collecting & Connecting, Nasher Museum of Art at Duke University, Durham, North Carolina, 2014–15. Works pictured: Robert Rauschenberg, Untitled (Night Blooming), ca. 1951; Yuri Albert, About Beauty from the series Alphabet for the Blind, 1988–89; Rauschenberg, Untitled (Hoarfrost), 1975. Photo by Peter Paul Geoffrion.

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Installation view, Rauschenberg: Collecting & Connecting, Nasher Museum of Art at Duke University, Durham, North Carolina, 2014–15. Works pictured: Vitaly Komar and Alexander Melamid, Stalin with Hitler’s Remains from the series Anarchistic Synthesism, 1985–86; Robert Rauschenberg, Untitled [matte black triptych], ca. 1951; Ai Weiwei, Marble Chair, 2008; Paul Graham, Man walking with blue bags, Augusta from the series American Night, 2002. Photo by Peter Paul Geoffrion.

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Installation view, Rauschenberg: Collecting & Connecting, Nasher Museum of Art at Duke University, Durham, North Carolina, 2014–15. Works pictured: Robert Rauschenberg, Untitled [matte black triptych], ca. 1951; Ai Weiwei, Marble Chair, 2008; Paul Graham, Man walking with blue bags, Augusta from the series American Night, 2002; Rauschenberg, Untitled (Night Blooming), ca. 1951; Yuri Albert, About Beauty from the series Alphabet for the Blind, 1988–89. Photo by Peter Paul Geoffrion.

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Installation view, Rauschenberg: Collecting & Connecting, Nasher Museum of Art at Duke University, Durham, North Carolina, 2014–15. Works pictured: Lyle Ashton Harris, Untitled (Oak Bluffs) from the series The Watering Hole, 1996; Robert Rauschenberg, Olympic / Lady Borden (Cardboard), 1971; Rauschenberg, Quiet House—Black Mountain, 1949; Rauschenberg, Portfolio II (I–VI), 1952 (printed 1998); Rauschenberg, Postcard Self-Portrait, Black Mountain (II), 1952; Rauschenberg, Rome Flea Market (III), 1952; Rauschenberg, Cy + Relics, Rome, 1952. Photo by Peter Paul Geoffrion.

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Installation view, Rauschenberg: Collecting & Connecting, Nasher Museum of Art at Duke University, Durham, North Carolina, 2014–15. Works pictured: Robert Rauschenberg, Quiet House—Black Mountain, 1949; Rauschenberg, Portfolio II (I–VI), 1952 (printed 1998); Rauschenberg, Postcard Self-Portrait, Black Mountain (II), 1952; Rauschenberg, Rome Flea Market (III), 1952; Rauschenberg, Cy + Relics, Rome, 1952. Photo by Peter Paul Geoffrion.

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Installation view, Rauschenberg: Collecting & Connecting, Nasher Museum of Art at Duke University, Durham, North Carolina, 2014–15. Works pictured: Robert Rauschenberg, Rome Flea Market (III), 1952; Rauschenberg, Cy + Relics, Rome, 1952; Rauschenberg, Cy + Roman Steps (I, II, III, IV, V), 1952; Rauschenberg, Untitled, 1984. Photo by Peter Paul Geoffrion.

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Installation view, Rauschenberg: Collecting & Connecting, Nasher Museum of Art at Duke University, Durham, North Carolina, 2014–15. Works pictured: Robert Rauschenberg, Untitled, 1984; Rauschenberg, Untitled (Night Blooming), ca. 1951; Yuri Albert, About Beauty from the series Alphabet for the Blind, 1988–89; Rauschenberg, Untitled (Hoarfrost), 1975. Photo by Peter Paul Geoffrion.

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Installation view, Rauschenberg: Collecting & Connecting, Nasher Museum of Art at Duke University, Durham, North Carolina, 2014–15. Works pictured: Robert Rauschenberg, Untitled, 1984; Rauschenberg, Untitled (Night Blooming), ca. 1951; Yuri Albert, About Beauty from the series Alphabet for the Blind, 1988–89; Rauschenberg, Untitled (Hoarfrost), 1975; Rauschenberg, San Pantalone (Venetian), 1973. Photo by Peter Paul Geoffrion.

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Installation view, Rauschenberg: Collecting & Connecting, Nasher Museum of Art at Duke University, Durham, North Carolina, 2014–15. Works pictured: Shimon Okshteyn, Armchair, 1995; Robert Rauschenberg, Untitled (Venetian), 1973; Bruce Conner, WHEEL COLLAGE, 1958; Nikolai Panitkov, Stuff Up the Hole, Stuff Up the Crack, 1987. Photo by Peter Paul Geoffrion.

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Installation view, Rauschenberg: Collecting & Connecting, Nasher Museum of Art at Duke University, Durham, North Carolina, 2014–15. Works pictured: Shimon Okshteyn, Armchair, 1995; (vitrine) Lia Perjovschi, Our Withheld Silences, 1989; Robert Rauschenberg, Untitled (Venetian), 1973; (vitrine) Rauschenberg, Untitled (Elemental Sculpture), ca. 1953; (partial) Bruce Conner, WHEEL COLLAGE, 1958; Nikolai Panitkov, Stuff Up the Hole, Stuff Up the Crack, 1987; Lyle Ashton Harris, Untitled (Oak Bluffs) from the series The Watering Hole, 1996; Rauschenberg, Olympic / Lady Borden (Cardboard), 1971. Photo by Peter Paul Geoffrion.

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Installation view, Rauschenberg: Collecting & Connecting, Nasher Museum of Art at Duke University, Durham, North Carolina, 2014–15. Works pictured: Robert Rauschenberg, Studies for Currents #15, #9, #13, and #24, all 1970; (vitrine) Lia Perjovschi, Our Withheld Silences, 1989; Shimon Okshteyn, Armchair, 1995; (vitrine) Rauschenberg, Untitled (Elemental Sculpture), ca. 1953; Rauschenberg, Untitled (Venetian), 1973; Bruce Conner, WHEEL COLLAGE, 1958; Nikolai Panitkov, Stuff Up the Hole, Stuff Up the Crack, 1987. Photo by Peter Paul Geoffrion.

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Installation view, Rauschenberg: Collecting & Connecting, Nasher Museum of Art at Duke University, Durham, North Carolina, 2014–15. Works pictured: Yuri Albert, About Beauty from the series Alphabet for the Blind, 1988–89; (partial) Robert Rauschenberg, Untitled (Hoarfrost), 1975; (vitrine) Lia Perjovschi, Our Withheld Silences, 1989; Rauschenberg, San Pantalone (Venetian), 1973; Rauschenberg, Studies for Currents #15, #9, #13, and #24, all 1970. Photo by Peter Paul Geoffrion.

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Installation view, Rauschenberg: Collecting & Connecting, Nasher Museum of Art at Duke University, Durham, North Carolina, 2014–15. Works pictured: Nikolai Panitkov, Stuff Up the Hole, Stuff Up the Crack, 1987; Oleg Vassiliev, Image #24 from the series House with an Attic, 1992; (vitrine) Robert Rauschenberg, Untitled (Elemental Sculpture), ca. 1953; (partial) Rauschenberg, Olympic / Lady Borden (Cardboard), 1971; (partial) Rauschenberg, Cy + Roman Steps (I, II, III, IV, V), 1952; (vitrine) Lia Perjovschi, Our Withheld Silences, 1989; (partial) Robert Rauschenberg, Untitled, 1984; Rauschenberg, San Pantalone (Venetian), 1973; Rauschenberg, Study for Currents #15, 1970. Photo by Peter Paul Geoffrion.

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Installation view, Rauschenberg: Collecting & Connecting, Nasher Museum of Art at Duke University, Durham, North Carolina, 2014–15. Works pictured: (vitrine) Robert Rauschenberg, Untitled (Elemental Sculpture), ca. 1953; (partial) Rauschenberg, Studies for Currents #13 and #24, both 1970; Arsen Savadov and Georgii Senchenko, Untitled from the series Controlling the Inorganic Control, 1992–93; Savadov and Senchenko, Untitled from the series Controlling the Inorganic Control, 1991; Rauschenberg, Mirage (Jammer), 1975. Photo by Peter Paul Geoffrion.

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Installation view, Rauschenberg: Collecting & Connecting, Nasher Museum of Art at Duke University, Durham, North Carolina, 2014–15. Works pictured: Robert Rauschenberg, Mirage (Jammer), 1975; Lyle Ashton Harris, Untitled (Oak Bluffs) from the series The Watering Hole, 1996; Rauschenberg, Audition (Carnal Clock), 1969. Photo by Peter Paul Geoffrion.

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Installation view, Rauschenberg: Collecting & Connecting, Nasher Museum of Art at Duke University, Durham, North Carolina, 2014–15. Works pictured: Michelangelo Pistoletto, Clothes (Panni) from the Drape Suite, 1981; Oleg Vassiliev, Images #7, #21, and #24 from the series House with an Attic, all 1992; Vassiliev, Chistoprudny Boulevard, 1992; Robert Rauschenberg, Soviet/American Array VII, 1988–91; Glenn Ligon, Warm Broad Glow, 2005; Rauschenberg, The Proof of Darkness (Kabal American Zephyr), 1981; Rauschenberg, Untitled, 1984. Photo by Peter Paul Geoffrion.

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Installation view, Rauschenberg: Collecting & Connecting, Nasher Museum of Art at Duke University, Durham, North Carolina, 2014–15. Works pictured: Andy Warhol, Nude Model (Male), four Polaroids, all 1977; Warhol, Steve Rubell, three gelatin silver prints, all 1982; (top) Warhol, Jon Gould, n.d.; (bottom) Warhol, Unidentified Man, n.d.; Robert Rauschenberg, All Abordello Doze 2 (Japanese Recreational Claywork), 1982; Rauschenberg, Audition (Carnal Clock), 1969. Photo by Peter Paul Geoffrion.

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Installation view, Rauschenberg: Collecting & Connecting, Nasher Museum of Art at Duke University, Durham, North Carolina, 2014–15. Works pictured: David Salle, The Monotonous Language, 1981; Mickalene Thomas, Lovely Six Foota, 2007; Robert Rauschenberg, The Proof of Darkness (Kabal American Zephyr), 1981; Andy Warhol, Nude Model (Male), four Polaroids, all 1977. Photo by Peter Paul Geoffrion.

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Installation view, Rauschenberg: Collecting & Connecting, Nasher Museum of Art at Duke University, Durham, North Carolina, 2014–15. Works pictured: Robert Rauschenberg, All Abordello Doze 2 (Japanese Recreational Claywork), 1982; Rauschenberg, Audition (Carnal Clock), 1969; Rauschenberg, Pneumonia Lisa (Japanese Recreational Claywork), 1982. Photo by Peter Paul Geoffrion.

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Installation view, Rauschenberg: Collecting & Connecting, Nasher Museum of Art at Duke University, Durham, North Carolina, 2014–15. Works pictured: Robert Rauschenberg, Pneumonia Lisa (Japanese Recreational Claywork), 1982; David Salle, The Monotonous Language, 1981; Mickalene Thomas, Lovely Six Foota, 2007. Photo by Peter Paul Geoffrion.

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Installation view, Rauschenberg: Collecting & Connecting, Nasher Museum of Art at Duke University, Durham, North Carolina, 2014–15. Works pictured: Oleg Vassiliev, Images #21 and #24 from the series House with an Attic, both 1992; Vassiliev, Chistoprudny Boulevard, 1992; Boris Orlov, Russian General, 1990; Orlov, The General, 1989; Robert Rauschenberg, Soviet/American Array VII, 1988–91; Vitaly Komar and Alexander Melamid, The Wings Will Grow from the series American Dreams, 1999. Photo by Peter Paul Geoffrion.

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Installation view, Rauschenberg: Collecting & Connecting, Nasher Museum of Art at Duke University, Durham, North Carolina, 2014–15. Works pictured: Oleg Vassiliev, Images #7, #21, and #24 from the series House with an Attic, all 1992; Vassiliev, Chistoprudny Boulevard, 1992; Leonid Lerman, Study for Other Horizons, 1992; Lerman, Improvisation in Red and Blue, 1993; Lerman, Evening at Volga, 1992; (top) Pavlo Makov, Fountain of Exhaustion and (bottom) Vera Khlebnikova, Wallpaper, both from The Wallpaper Project, 1996; Robert Rauschenberg, Solar Elephant (Kabal American Zephyr), 1982. Photo by Peter Paul Geoffrion.

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Installation view, Rauschenberg: Collecting & Connecting, Nasher Museum of Art at Duke University, Durham, North Carolina, 2014–15. Works pictured: (top) Pavlo Makov, Fountain of Exhaustion and (bottom) Vera Khlebnikova, Wallpaper, both from The Wallpaper Project, 1996; Robert Rauschenberg, Solar Elephant (Kabal American Zephyr), 1982; (top) Leonid Tishkov, Wallpaper and (bottom) Igor Makarevich, Wallpaper, both from The Wallpaper Project, 1996. Photo by Peter Paul Geoffrion.

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Installation view, Rauschenberg: Collecting & Connecting, Nasher Museum of Art at Duke University, Durham, North Carolina, 2014–15. Works pictured: Alexander Brodsky and Ilya Utkin, Columbarium Habitabile from the portfolio Projects, 1989 (printed 1990); Robert Rauschenberg, Contest (Arcadian Retreat), 1996; Brodsky and Utkin, Forum de Mille Veritatis from the portfolio Projects, 1987 (printed 1990); Brodsky and Utkin, Island of Stability from the portfolio Projects, 1989–90; Rauschenberg, Mirage (Jammer), 1975; Leonid Lerman, Study for Other Horizons, 1992; Lerman, Improvisation in Red and Blue, 1993; Lerman, Evening at Volga, 1992. Photo by Peter Paul Geoffrion.

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Installation view, Rauschenberg: Collecting & Connecting, Nasher Museum of Art at Duke University, Durham, North Carolina, 2014–15. Works pictured: Boris Orlov, Russian General, 1990; Orlov, The General, 1989; Robert Rauschenberg, Soviet/American Array VII, 1988–91; Vitaly Komar and Alexander Melamid, The Wings Will Grow from the series American Dreams, 1999; Alexander Brodsky and Ilya Utkin, Columbarium Architecture (Museum of Disappearing Buildings) from the portfolio Projects, 1984 (printed 1990); Brodsky and Utkin, Columbarium Habitabile from the portfolio Projects, 1989 (printed 1990). Photo by Peter Paul Geoffrion.

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Installation view, Rauschenberg: Collecting & Connecting, Nasher Museum of Art at Duke University, Durham, North Carolina, 2014–15. Works pictured: Vitaly Komar and Alexander Melamid, The Wings Will Grow from the series American Dreams, 1999; Alexander Brodsky and Ilya Utkin, Columbarium Architecture (Museum of Disappearing Buildings) from the portfolio Projects, 1984 (printed 1990); Brodsky and Utkin, Columbarium Habitabile from the portfolio Projects, 1989 (printed 1990); Robert Rauschenberg, Contest (Arcadian Retreat), 1996; Brodsky and Utkin, Forum de Mille Veritatis from the portfolio Projects, 1987 (printed 1990); Brodsky and Utkin, Island of Stability from the portfolio Projects, 1989–90. Photo by Peter Paul Geoffrion.

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Installation view, Rauschenberg: Collecting & Connecting, Nasher Museum of Art at Duke University, Durham, North Carolina, 2014–15. Works pictured: Alexander Brodsky and Ilya Utkin, Columbarium Architecture (Museum of Disappearing Buildings) from the portfolio Projects, 1984 (printed 1990); Brodsky and Utkin, Columbarium Habitabile from the portfolio Projects, 1989 (printed 1990); Robert Rauschenberg, Contest (Arcadian Retreat), 1996; Brodsky and Utkin, Forum de Mille Veritatis from the portfolio Projects, 1987 (printed 1990); Brodsky and Utkin, Island of Stability from the portfolio Projects, 1989–90. Photo by Peter Paul Geoffrion.

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Installation view, Rauschenberg: Collecting & Connecting, Nasher Museum of Art at Duke University, Durham, North Carolina, 2014–15. Works pictured: Robert Rauschenberg, Summer Glut Breeze, 1987; Rauschenberg, Untitled (Faux-Tapis), 1995. Photo by Peter Paul Geoffrion.

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Installation view, Rauschenberg: Collecting & Connecting, Nasher Museum of Art at Duke University, Durham, North Carolina, 2014–15. Works pictured: Robert Rauschenberg, Wild Strawberry Eclipse (Urban Bourbon), 1988; Rauschenberg, Litercy (Phantom), 1991; Rauschenberg, Summer Glut Breeze, 1987. Photo by Peter Paul Geoffrion.

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Installation view, Rauschenberg: Collecting & Connecting, Nasher Museum of Art at Duke University, Durham, North Carolina, 2014–15. Works pictured: Shimon Okshteyn, There are many forms but few classics, 1988; Robert Rauschenberg, Meditative March (Runt), 2007; Rauschenberg, Wild Strawberry Eclipse (Urban Bourbon), 1988. Photo by Peter Paul Geoffrion.

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Installation view, Rauschenberg: Collecting & Connecting, Nasher Museum of Art at Duke University, Durham, North Carolina, 2014–15. Works pictured: Georgy Kiesewalter, Ars Brevis, 1988; Shimon Okshteyn, There are many forms but few classics, 1988. Photo by Peter Paul Geoffrion.

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Installation view, Rauschenberg: Collecting & Connecting, Nasher Museum of Art at Duke University, Durham, North Carolina, 2014–15. Works pictured: Mimi Jacobs, Untitled (Photo of Bruce Conner), 1975; Robert Rauschenberg, Self-Portrait [for The New Yorker profile], 1964; (far wall) Bruce Conner, DEUS EX MACHINA from the CHRIST SERIES, 1987 (with two documentary images). Photo by Peter Paul Geoffrion.

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Installation view, Rauschenberg: Collecting & Connecting, Nasher Museum of Art at Duke University, Durham, North Carolina, 2014–15. Works pictured: Elizabeth Sher, Untitled (Bruce Conner taking pictures at a Johnny Rotten press conference, San Francisco), 1980; Bruce Conner, nine gelatin silver prints from MABUHAY GARDENS PUNK PHOTOS, 1978; (vitrine) Conner and Michael McClure, CARDS, 1970–71; Conner, #117, 1970–71; ANONYMOUSE (Conner), INKBLOT DRAWING, JULY 25, 1999; Conner, #125, 1971; (vitrine) Robert Rauschenberg, Page 2 (Pages), 1974; Conner, UNTITLED D-1 (INK DRAWING MADE TO BE HUNG IN THE SUN TO DISAPPEAR OVER TIME), 1965–71. Photo by Peter Paul Geoffrion.

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Installation view, Rauschenberg: Collecting & Connecting, Nasher Museum of Art at Duke University, Durham, North Carolina, 2014–15. Works pictured: Robert Rauschenberg, Meditative March (Runt), 2007; Bruce Conner, #115, ca. 1970–74; Conner, #100 MANDALA, 1970; Conner, Lower center element from SAN FRANCISCO DANCERS’ WORKSHOP POSTER, 1974; (vitrine) Conner and Michael McClure, CARDS, 1970–71. Photo by Peter Paul Geoffrion.

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Installation view, Rauschenberg: Collecting & Connecting, Nasher Museum of Art at Duke University, Durham, North Carolina, 2014–15. Works pictured: (vitrine, foreground) Bruce Conner, PRINTS, 1974; Conner, THE DENNIS HOPPER ONE MAN SHOW, VOLUME II, NO. 7, 1972; (top) Conner, “I AM BRUCE CONNER” BUTTON, 1964 (issued 1983) and “I AM NOT BRUCE CONNER” BUTTON, 1964 (issued 1967); (bottom) Conner, “1972 BC” BUMPER STICKER, 1972; Conner, BRUCE CONNER for SUPERVISOR, 1967; Conner, BRUCE CONNER MIDNITE FRIDAY, MAR. 9 . . . , 1979; (vitrine) Conner, Film canister for REPORT, 1967; Robert Rauschenberg, Autobiography, 1968. Photo by Peter Paul Geoffrion.

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Installation view, Rauschenberg: Collecting & Connecting, Nasher Museum of Art at Duke University, Durham, North Carolina, 2014–15. Works pictured: (vitrine, foreground) Bruce Conner, PRINTS, 1974; Conner, BRUCE CONNER for SUPERVISOR, 1967; Conner, BRUCE CONNER MIDNITE FRIDAY, MAR. 9 . . . , 1979; (vitrine) Conner, Film canister for REPORT, 1967; Robert Rauschenberg, Autobiography, 1968; Conner, DEUS EX MACHINA from the CHRIST SERIES, 1987 (with two documentary images). Photo by Peter Paul Geoffrion.