ARTIST MONOGRAPHS

Robert Rauschenberg

Museum Exhibition Catalogues, Monographs, Artist's Projects, Curatorial Writings and Essays


"The radiance of Rauschenberg's tormented pieces of metal or his abandoned objects, his pieces of reality where constraint has mismanaged them into victims of their lives, that's a part of the emotional radiance, the way they radiate life. The way that they have been conceived, used, destroyed, and then recuperated tells us a life story of the object, of the fragment which is a part of something humanistic. There's a humanistic element-it's never too late. There is great optimism.
When Rauschenberg's works were first shown in Europe, it was a great shock for many people. I saw the first show in Paris in 1961. It was something that we had waited for. It was like a revelation in one way, and a confirmation in another. Finally, something was shown that was so strong and powerful. For me, I can't say it was a surprise, it was more like, ah, finally somebody did it right."
Pontus Hulten, excerpted from Robert Rauschenberg: Combines, published by Steidl/The Museum of Contemporary Art, Los Angeles.

Robert Rauschenberg was born in Port Arthur, Texas, in 1925. After studying in Paris on the G.I. Bill in his twenties, he returned to the U.S., pausing only to investigate the Black Mountain College art scene before taking on--and swiftly conquering--New York. He had his first solo show at Leo Castelli Gallery in his early thirties, and quickly went on to become one of the most important artists of the twentieth century. Rauschenberg is represented in every major museum collection, and many retrospective exhibitions of his work have toured the globe--including a thematic one at the Guggenheim Museum in 1997. In 1970, he moved to Captiva Island, off the Gulf Coast of Florida, where he lived and continued to make work until his death in 2008.

                     

ACTIVE BACKLIST

Robert Rauschenberg: Japanese Clayworks

THADDAEUS ROPAC
Text by Kristen Clevenson.

Rauschenberg’s rarely seen ceramic experiments of the 1980s

Hbk, 8.5 x 11.5 in. / 128 pgs / 127 color / 3 bw. | 9/5/2023 | In stock
$50.00


Robert Rauschenberg: Night Shades and Phantoms

GALERIE THADDAEUS ROPAC
Edited by Oona Doyle. Text by David Salle.

Rauschenberg’s luminously palimpsestic “metal paintings” evocatively combine the material processes of photography and art

Hbk, 8.75 x 11.75 in. / 120 pgs / 53 color / 37 bw. | 7/5/2022 | Out of stock
$48.00


Robert Rauschenberg: Borealis 1988–92

GALERIE THADDAEUS ROPAC
Edited by Jose Castanal, Oona Doyle. Text by Corinna Thierolf.

Hbk, 9.75 x 11.75 in. / 120 pgs / 53 color / 17 bw. | 4/28/2020 | In stock
$45.00


Robert Rauschenberg: Spreads 1975–83

GALERIE THADDAEUS ROPAC
Edited by José Castañal, Kelsey Corbett, Oona Doyle. Text by Elisa Schaar.

Hbk, 9 x 11.25 in. / 140 pgs / 72 color / 10 bw. | 4/28/2020 | Out of stock
$50.00


Robert Rauschenberg: Thirty-Four Illustrations for Dante’s Inferno

THE MUSEUM OF MODERN ART, NEW YORK
Introduction by Leah Dickerman. Text by Kevin Young, Robin Coste Lewis.

Rauschenberg's inventive contemporaneous interpretation of Dante's Inferno

Pbk, 8 x 10 in. / 104 pgs / 44 color. | 6/27/2017 | In stock
$24.95


Robert Rauschenberg: Thirty-Four Illustrations for Dante’s Inferno

THE MUSEUM OF MODERN ART, NEW YORK
Introduction by Leah Dickerman. Text by Kevin Young, Robin Coste Lewis.

Special edition, 14 x 16 in. / 82 pgs / 34 color. | 5/23/2017 | In stock
$500.00


Robert Rauschenberg

THE MUSEUM OF MODERN ART, NEW YORK
Edited with text by Leah Dickerman, Achim Borchardt-Hume. Text by Yve-Alain Bois, Andrianna Campbell, Hal Foster, Mark Godfrey, Hiroko Ikegami, Branden Joseph, Ed Krcma, Michelle Kuo, Pamela Lee, Emily Liebert, Richard Meyer, Helen Molesworth, Kate Nesin, Sarah Roberts, Catherine Wood.

"Painting relates to both art and life. Neither can be made. (I try to act in the gap between the two.)" —Robert Rauschenberg

Pbk, 9.5 x 12 in. / 392 pgs / 375 color. | 5/23/2017 | In stock
$55.00


Robert Rauschenberg

THE MUSEUM OF MODERN ART, NEW YORK
Edited with text by Leah Dickerman, Achim Borchardt-Hume. Text by Yve-Alain Bois, Andrianna Campbell, Hal Foster, Mark Godfrey, Hiroko Ikegami, Branden Joseph, Ed Krcma, Michelle Kuo, Pamela Lee, Emily Liebert, Richard Meyer, Helen Molesworth, Kate Nesin, Sarah Roberts, Catherine Wood.

“Offering both a complete overview and fresh perspective of the momentous artist, nearly everything that Rauschenberg tackled in his career is included here, including his printmaking, photography, and famous silkscreen paintings.” –Interview Magazine

Hbk, 9.5 x 12 in. / 392 pgs / 475 color. | 12/6/2016 | In stock
$75.00


Robert Rauschenberg: Gluts

GUGGENHEIM MUSEUM PUBLICATIONS
Edited by Susan Davidson. Text by Trisha Brown, Mimi Thompson. Preface by Philip Rylands.

Flexi, 11.5 x 10 in. / 120 pgs / 70 color. | 7/31/2009 | In stock
$45.00


Robert Rauschenberg

THE MUSEUM OF MODERN ART, NEW YORK
Text by Carolyn Lanchner.

Pbk, 6 x 8 in. / 48 pgs / 40 color. | 1/31/2010 | In stock
$9.95


Robert Rauschenberg: Works, Writing, Interviews

EDICIONES POLíGRAFA
Text by Sam Hunter.

Hardcover, 8.5 x 11 in. / 160 pgs / 125 color / 20 bw. | 3/1/2007 | In stock
$45.00


      

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Robert Rauschenberg: Photographs

D.A.P./SCHIRMER/MOSEL
Edited by David White, Susan Davidson. Text by Nicholas Cullinan.

Hbk, 9.5 x 11 in. / 232 pgs / 136 duotone / 31 color. | 9/30/2011 | Not available
$40.00


Robert Rauschenberg: Transfer Drawings of the 1960s

JONATHAN O'HARA GALLERY
Text by Lewis Kachur. Foreword by Jonathan O'Hara.

Hardcover, 9.5 x 9.25 in. / 72 pgs / 45 color / 6 bw. | 6/1/2007 | Not available
$40.00


Black Paintings: Robert Rauschenberg, Ad Reinhardt, Mark Rothko, Frank Stella

HATJE CANTZ
Edited by Stephanie Rosenthal.

Hardcover, 9.5 x 12.5 in. / 204 pgs / 64 color / 122 bw. | 1/1/2007 | Not available
$60.00


Robert Rauschenberg: Japanese ClayworksRobert Rauschenberg: Japanese Clayworks

Published by Thaddaeus Ropac.
Text by Kristen Clevenson.

Over the course of a 15-year period, Robert Rauschenberg (1925–2008) frequently traveled to Japan, where he developed a keen interest in ceramics. The artist began to create his own, developing an idiosyncratic process that combined ancient Japanese pottery traditions with modern innovations.
This striking volume charts Rauschenberg’s foray into the medium. Including previously unpublished archival material, the book presents two of his rarely seen series,The Japanese Clayworks (1982/1985) and Japanese Recreational Clayworks (1982–83/1985). The former features sculptural elements and photographic imagery of ancient and modern Japan, as well as distinctive brushstrokes; the latter series comprises prefabricated reproductions of historical Western artworks on ceramic panels, to which Rauschenberg added his own imagery of contemporary Japan from photographs he took across the country, along with gestural brushwork.



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Thaddaeus Ropac

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Hardcover, 8.5 x 11.5 in. / 128 pgs / 127 color / 3 bw.

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Catalog: FALL 2023 p. 116   

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Robert Rauschenberg: Night Shades and PhantomsRobert Rauschenberg: Night Shades and Phantoms

Published by Galerie Thaddaeus Ropac.
Edited by Oona Doyle. Text by David Salle.

This publication is entirely dedicated to Robert Rauschenberg’s (1925–2008) Phantoms and Night Shades, made in 1991 and widely considered to be the artist's most experimental series.

In the Night Shades, photographs by the artist are silkscreened onto aluminum panels that have been treated with a corrosive varnish, revealing and concealing evanescent images. In the Phantoms, photographs are silkscreened onto a mirrored surface.

In these ethereal works, Rauschenberg alludes to his artistic past by conjuring the palimpsestic actions of memory. This publication includes an essay by the American painter David Salle. The plates are accompanied by source images by the artist.



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Galerie Thaddaeus Ropac

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Hardcover, 8.75 x 11.75 in. / 120 pgs / 53 color / 37 bw.

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Catalog: SPRING 2021 p. 107   

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Robert Rauschenberg: Borealis 1988–92Robert Rauschenberg: Borealis 1988–92

Published by Galerie Thaddaeus Ropac.
Edited by Jose Castanal, Oona Doyle. Text by Corinna Thierolf.

Robert Rauschenberg: Borealis 1988–92 is the first publication dedicated to the Borealis series by Robert Rauschenberg (1925–2008) and accompanies the eponymous exhibition held at Galerie Thaddaeus Ropac, Salzburg, in 2019. The essay by Corinna Thierolf, chief curator of the Pinakothek der Moderne, Munich, examines the iconography of one of Rauschenberg’s most experimental series, for which he silk-screened his own photographs on reflective surfaces such as brass, copper and bronze.

This comprehensive publication documents the exhibition and features other major Borealis works from museum collections. In addition to Thierolf’s analysis, each work is accompanied by exclusive source images taken or found by the artist during his prescient global art project, the Robert Rauschenberg Overseas Culture Interchange (ROCI).



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Galerie Thaddaeus Ropac

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Hardcover, 9.75 x 11.75 in. / 120 pgs / 53 color / 17 bw.

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Catalog: FALL 2019 p. 139   

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Robert Rauschenberg: Spreads 1975–83Robert Rauschenberg: Spreads 1975–83

Published by Galerie Thaddaeus Ropac.
Edited by José Castañal, Kelsey Corbett, Oona Doyle. Text by Elisa Schaar.

Asked about his use of the term “Spread,” Robert Rauschenberg (1925–2008) responded that it meant “as far as I can make it stretch, and land (like a farmer’s ‘spread’), and also the stuff you put on toast.” Prompted by an imminent retrospective of his work in 1976, Rauschenberg sourced motifs from his own past—tires, bedding, electric lights, bird wings, umbrellas and parachutes—and recombined them with textiles and printed media images in large-scale, quasi-architectural works.

This fully illustrated catalog is the first devoted to Robert Rauschenberg's Spreads series (1975–83). It includes full-page reproductions of the artist's paintings and works on paper. In her essay, Elisa Schaar states: "Rather than a retrospective exercise, the Spreads is a series with visual and historical specificity in its own right, incorporating not only elements from Rauschenberg’s earlier work, but also reflecting changes in his life, his practice and in contemporary art at the time."



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Galerie Thaddaeus Ropac

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Hardcover, 9 x 11.25 in. / 140 pgs / 72 color / 10 bw.

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Catalog: FALL 2019 p. 134   

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Robert Rauschenberg: Thirty-Four Illustrations for Dante’s InfernoRobert Rauschenberg: Thirty-Four Illustrations for Dante’s Inferno

Published by The Museum of Modern Art, New York.
Introduction by Leah Dickerman. Text by Kevin Young, Robin Coste Lewis.

Between 1958 and 1960, Robert Rauschenberg produced a series of 34 drawings, one for each Canto, or section, of Dante’s poem The Inferno (1308–1321). Together they are a virtual encyclopedia of modern-day imagery, made by transferring photographic reproductions from magazines or newspapers onto the drawing surface. “I think a picture is more like the real world when it’s made out of the real world,” Rauschenberg said. With additional imagery in pencil, crayon, pastel and collage, the drawings reflect Rauschenberg’s desire to infiltrate his art with the scenes and sounds of the surrounding world, a radical departure from the more transcendent ambitions of Abstract Expressionism.

Published in conjunction with the first major retrospective on Rauschenberg’s career since the artist’s death in 2008, this book presents the complete set of 34 drawings, with an introduction by curator Leah Dickerman and newly commissioned poetry from Kevin Young and Robin Coste Lewis, each reflecting on a selection of drawings and their corresponding Cantos.



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The Museum of Modern Art, New York

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Paperback, 8 x 10 in. / 104 pgs / 44 color.

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Catalog: FALL 2017 p. 116   

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Robert Rauschenberg: Thirty-Four Illustrations for Dante’s InfernoRobert Rauschenberg: Thirty-Four Illustrations for Dante’s Inferno

Limited Edition

Published by The Museum of Modern Art, New York.
Introduction by Leah Dickerman. Text by Kevin Young, Robin Coste Lewis.

This limited edition of 500 copies, housed in a clothbound clamshell box, includes the trade publication, plus a facsimile edition of Rauschenberg’s series of drawings from 1958–60, each reproduced at actual size on individual sheets.



PUBLISHER
The Museum of Modern Art, New York

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Special edition, 14 x 16 in. / 82 pgs / 34 color.

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Robert RauschenbergRobert Rauschenberg

Published by The Museum of Modern Art, New York.
Edited with text by Leah Dickerman, Achim Borchardt-Hume. Text by Yve-Alain Bois, Andrianna Campbell, Hal Foster, Mark Godfrey, Hiroko Ikegami, Branden Joseph, Ed Krcma, Michelle Kuo, Pamela Lee, Emily Liebert, Richard Meyer, Helen Molesworth, Kate Nesin, Sarah Roberts, Catherine Wood.

The early 1950s, when Robert Rauschenberg launched his career, was the heyday of the heroic gestural painting of Abstract Expressionism. Rauschenberg challenged this tradition, inventing new interdisciplinary models of artistic practice that shaped the decades to come. Published in conjunction with this century's first retrospective of this defining figure in postwar art, this richly illustrated catalog reframes Rauschenberg’s widely celebrated Combines (1954–64) and silkscreen paintings (1962–64) in fresh ways. It also illuminates lesser-known periods within Rauschenberg’s career, including his work of the early 1950s and that from the late 1960s onward, now compelling and prescient to contemporary eyes.

Sixteen short essays by eminent scholars and emerging new writers focus on specific moments throughout Rauschenberg’s career, exploring his creative production across an extraordinary range of media and following him on his travels around the globe. Integrating new scholarship, documentary imagery and archival materials, Robert Rauschenberg is the first comprehensive catalogue of the artist’s career in 20 years, an important contribution to American cultural and intellectual history and a necessary volume for anyone interested in contemporary art.

Over the span of six decades, Robert Rauschenberg (1925–2008) worked in an astonishing range of mediums including painting, sculpture, prints, photography and performance. Working alone and in collaboration with artists, dancers, musicians and writers, Rauschenberg produced a vast body of work that set the course for art of the present day.



Leah Dickerman is Director of Editorial & Content Strategy at The Museum of Modern Art, New York.

Achim Borchardt-Hume is Director of Exhibitions at Tate Modern, London.

Yve-Alain Bois is Professor of Art History at the School of Historical Studies, Institute for Advanced Study, Princeton University.

Andrianna Campbellis a doctoral candidate in the Department of Art History at the CUNY Graduate Center, where she specializes in American art in the modern and contemporary period.

Hal Foster is American art critic and historian.

Mark Godfrey is Curator of Contemporary Art at Tate Modern, London.

Hiroko Ikegami is Associate Professor in the Graduate School of Intercultural Studies at Kobe University and specializes in post-1945 American art and its global impact.

Branden Joseph is Frank Gallipoli Professor of Modern and Contemporary Art in the Department of Art History and Archaeology at Columbia University.

Ed Kr?ma is Lecturer in History of Art at the School of World Art and Museum Studies, University of East Anglia and co-editor of Enclave Review.

Michelle Kuo is Professor in the History, Law, and Society program at the American University of Paris on issues related to race, punishment, immigration and the law.

Pamela Lee is Carnegie Professor of Modern and Contemporary Art at Yale University.

Emily Liebert is an American author. Her most recent novels are You Knew Me When (2013), When We Fall (2014), Those Secrets We Keep (2015) and Some Women (2016), all with Penguin Random House and Pretty Revenge (2019) with Simon & Schuster.

Richard Meyer is Robert and Ruth Halperin Professor in Art History at Stanford University.

Helen Molesworth is former Chief Curator at The Museum of Contemporary Art, Los Angeles.

Kate Nesin is an art historian based in New York.

Sarah Robertsis Assistant Professor of Information Studies at the University of California Los Angeles.

Catherine Wood is Senior Curator of Contemporary Art and Performance at Tate Modern."

PUBLISHER
The Museum of Modern Art, New York

BOOK FORMAT
Paperback, 9.5 x 12 in. / 392 pgs / 375 color.

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Catalog: SPRING 2017 p. 10   

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Robert RauschenbergRobert Rauschenberg

Published by The Museum of Modern Art, New York.
Edited with text by Leah Dickerman, Achim Borchardt-Hume. Text by Yve-Alain Bois, Andrianna Campbell, Hal Foster, Mark Godfrey, Hiroko Ikegami, Branden Joseph, Ed Krcma, Michelle Kuo, Pamela Lee, Emily Liebert, Richard Meyer, Helen Molesworth, Kate Nesin, Sarah Roberts, Catherine Wood.

The early 1950s, when Robert Rauschenberg launched his career, was the heyday of the heroic gestural painting of Abstract Expressionism. Rauschenberg challenged this tradition, inventing new intermedia forms of art making that shaped the decades to come. Published in conjunction with the inaugural 21st-century retrospective of this defining figure, this book offers fresh perspectives on Rauschenberg’s widely celebrated Combines (1954–64) and silkscreen paintings (1962–64). It also illuminates lesser-known periods within Rauschenberg’s career, including his work of the early 1950s and that from the late 1960s onward, now compelling and prescient to contemporary eyes.

Sixteen short essays by eminent scholars and emerging new writers focus on specific moments within Rauschenberg’s career, examining his creative production across an extraordinary range of media. Integrating new scholarship, documentary imagery and archival materials, Robert Rauschenberg is the first comprehensive catalogue of the artist’s career in 20 years, an important contribution to American cultural and intellectual history across disciplines and a necessary volume for anyone interested in art of the present day.

Over the span of six decades, Robert Rauschenberg (1925–2008) worked in an astonishing range of mediums including painting, sculpture, prints, photography and performance, and became one of the most transformative figures in postwar American culture. Working alone and in collaboration with artists, dancers, musicians and writers, Rauschenberg produced a vast body of work that continues to resonate today.



Leah Dickerman is The Marlene Hess Curator of Painting and Sculpture, The Museum of Modern Art. Achim Borchardt-Hume is Director of Exhibitions, Tate Modern. Yve-Alain Bois is Professor of Art History, Institute for Advanced Study, Princeton University. Andrianna Campbell is a Doctoral Candidate, CUNY Graduate Center. Hal Foster is Townsend Martin, Class of 1917, Professor of Art and Archaeology, Princeton University.  Mark Godfrey is Senior Curator, International Art (Europe and Americas), Tate Modern. Hiroko Ikegami is Associate Professor, Graduate School of Intercultural Studies, Kobe University. Branden Joseph is Frank Gallipoli Professor of Modern and Contemporary Art, Art History and Archaeology, Columbia University. Ed Krcma is Lecturer in Art History, University of East Anglia. Michelle Kuo is Editor in Chief, Artforum International Magazine. Pamela Lee is Jeanette and William Hayden Jones Professor in American Art and Culture, Stanford University. Emily Liebert is Curatorial Assistant, Department of Painting and Sculpture, The Museum of Modern Art. Richard Meyer is Robert and Ruth Halperin Professor in Art History, Stanford University. Helen Molesworth is Chief Curator, The Museum of Contemporary Art, Los Angeles. Kate Nesin is Associate Curator, Art Institute of Chicago. Sarah Roberts is Andrew W. Mellon Associate Curator of Painting and Sculpture, San Francisco Museum of Modern Art. Catherine Wood is Senior Curator, International Art (Performance).

PUBLISHER
The Museum of Modern Art, New York

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Hardcover, 9.5 x 12 in. / 392 pgs / 475 color.

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Catalog: FALL 2016 p. 3   

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Rauschenberg: CanyonRauschenberg: Canyon

MoMA One on One Series

Published by The Museum of Modern Art, New York.
Text by Leah Dickerman.

In the mid-1950s, declaring “there is no reason not to consider the world as a gigantic painting,” Robert Rauschenberg began a series of radical experiments with what he called “Combines,” a term he coined to describe works that fused cast-off items like quilts or rubber tires with traditional supports. “Canyon” (1959), one of the artist’s best-known Combines, is a large canvas affixed with paper, fabric, metal, personal photographs, wood, mirrors and one very striking object: a large stuffed bald eagle, wings outstretched, carrying a drooping pillow, and balanced upon a wooden plank jutting out from the canvas. “Canyon” is one of six Combines in MoMA’s collection, and a landmark work that helped to revolutionize art in the postwar period. An essay by curator Leah Dickerman explores the legacy of this extraordinary piece, and places it within a key period in Rauschenberg’s career.

PUBLISHER
The Museum of Modern Art, New York

BOOK FORMAT
Paperback, 7.25 x 9 in. / 48 pgs / 35 color.

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Catalog: FALL 2013 p. 80   

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Robert Rauschenberg: PhotographsRobert Rauschenberg: Photographs

1949-1962

Published by D.A.P./Schirmer/Mosel.
Edited by David White, Susan Davidson. Text by Nicholas Cullinan.

Robert Rauschenberg's engagement with photography began in the late 1940s under the tutelage of Hazel Larsen Archer at Black Mountain College in North Carolina. This exposure (or experience) was so great that for a time Rauschenberg was unsure whether to pursue painting or photography as a career. Instead, he chose both, and found ways to fold photography into his Combines, maintained a practice of photographing friends and family, documented the evolution of artworks and occasionally dramatized them by inserting himself into the picture frame. As Walter Hopps wrote, "The use of photography has long been an essential device for Rauschenberg's melding of imagery... [and] a vital means for Rauschenberg's aesthetic investigations of how humans perceive, select and combine visual information. Without photography, much of Rauschenberg's oeuvre would scarcely exist." The artist himself affirmed, "I've never stopped being a photographer." This volume gathers and surveys for the first time Rauschenberg's numerous uses of photography. This publication includes portraits of friends such as Cy Twombly, Jasper Johns, Merce Cunningham and John Cage, studio shots, photographs used in the Combines and Silkscreen paintings, photographs of lost artworks and works in process. This allows us to re-imagine almost the entirety of the artist's output in light of his always inventive uses of photography, while also supplying previously unseen glimpses into his social milieu of the 1950s and early 60s.
Painter, sculptor, printmaker and photographer Robert Rauschenberg (1925-2008) provided a crucial bridge between Abstract Expressionism and Pop art. After studying at Black Mountain College under Josef Albers, Rauschenberg moved to New York where he formed close allegiances with Jasper Johns and Cy Twombly, began his groundbreaking Combines, collaborated with the Merce Cunningham Dance Company and co-launched the non-profit Experiments in Art and Technology. Considered one of the most innovative artists of his era, he died in 2008.

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D.A.P./Schirmer/Mosel

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Hardcover, 9.5 x 11 in. / 232 pgs / 136 duotone / 31 color.

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Catalog: SPRING 2011 p. 177   

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Robert RauschenbergRobert Rauschenberg

Published by The Museum of Modern Art, New York.
Text by Carolyn Lanchner.

Robert Rauschenberg made a tremendous impact on Modern art in the twentieth century. As a pioneer of Pop art, he was a key figure in the postwar tradition that brought American art to the forefront of the international scene. This new volume in the MoMA Artist Series, which explores important artists and favorite works in the collection of The Museum of Modern Art, guides readers through a dozen of the artist's most memorable achievements. A short and lively essay by Carolyn Lanchner, a former curator of painting and sculpture at the Museum, accompanies each work, illuminating its significance and placing it in its historical moment in the development of Modern art and the artist's own life. This volume provides a unique overview of someone who shaped the development of American art since mid-century and is an excellent resource for readers interested in the stories behind the masterpieces of the Modern canon.

PUBLISHER
The Museum of Modern Art, New York

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Paperback, 6 x 8 in. / 48 pgs / 40 color.

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Catalog: FALL 2009 p. 42   

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Robert Rauschenberg: GlutsRobert Rauschenberg: Gluts

Published by Guggenheim Museum Publications.
Edited by Susan Davidson. Text by Trisha Brown, Mimi Thompson. Preface by Philip Rylands.

In the mid-1980s, Robert Rauschenberg's creative attentions turned toward the visual and plastic properties of junk metal when he began to assemble found metal objects and screenprint his photographic images onto aluminum, bronze, brass and copper. His first body of work in this vein was Gluts, a series begun in 1986 and continued intermittently until 1995, in which ornate metalwork seemingly derived from a bedpost might attach to a slice of mesh wire, or twisted petals of yellow metal might sprout from the remains of an eviscerated toaster. Asked to comment on his novel use of the word "gluts," Rauschenberg said, "It's a time of glut. Greed is rampant... I simply want to present people with their ruins... I think of the Gluts as souvenirs without nostalgia." Published to accompany the Peggy Guggenheim Collection's exhibition Robert Rauschenberg: Gluts (the first show to focus on Rauschenberg's sculpture since 1995), this fully illustrated catalogue features a selection of approximately 40 sculptures drawn from the holdings of institutions and private collections in the United States and abroad. It includes a reassessment of Rauschenberg's work as a sculptor by author and painter Mimi Thompson, an essay by Trisha Brown, an illustrated exhibition history, a preface by Philip Rylands and introduction by Susan Davidson that focuses on Rauschenberg's relationship to the Guggenheim and the artist's engagement with Venice in particular.

PUBLISHER
Guggenheim Museum Publications

BOOK FORMAT
Flexi, 11.5 x 10 in. / 120 pgs / 70 color.

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Catalog: FALL 2009 p. 9   

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ISBN 9780892073887 TRADE
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Robert Rauschenberg: Transfer Drawings of the 1960sRobert Rauschenberg: Transfer Drawings of the 1960s

Published by Jonathan O'Hara Gallery.
Text by Lewis Kachur. Foreword by Jonathan O'Hara.

Featuring 42 of Robert Rauschenberg's pioneering Transfer Drawings of the 1960s, this book reproduces almost half of the works that were made in that tumultuous decade. The historical watershed of 1968 is especially well represented by 23 drawings, at least 15 of which were shown in the influential Ileana Sonnabend Gallery, Paris, in October of that year. They have never been seen before now in the U.S. The imagery in these drawings suggests a growing political consciousness, first engaging the civil rights movement, followed by the Vietnam War and other events of the stormy era. This small but exquisite volume is an absorbing sequel to the 2005-06 international touring exhibition of Rauschenberg's Combines, taking up where those multi-media constructions left off. Among the featured works are "Mainspring" (1965), the largest of the transfer drawings, and selections from the artist's own collection.

PUBLISHER
Jonathan O'Hara Gallery

BOOK FORMAT
Hardcover, 9.5 x 9.25 in. / 72 pgs / 45 color / 6 bw.

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Out of print

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Catalog: FALL 2007 p. 9   

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ISBN 9780974075143 TRADE
List Price: $40.00 CDN $50.00

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STATUS: Out of print | 00/00/00

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Robert Rauschenberg: Works, Writing, InterviewsRobert Rauschenberg: Works, Writing, Interviews

Published by Ediciones Polígrafa.
Text by Sam Hunter.

Throughout his career, the American Pop artist Robert Rauschenberg has consistently challenged the prevailing ideologies and techniques of the art world, and can even be said to have changed the course of art history. In the 1950s, Rauschenberg redefined the very materials that art could be made of, rebelling against the predominant Abstract Expressionism of the time with the impeccable logic that, "I think a painting is more like the real world if it's made out of the real world." His boldness in pushing technical and aesthetic frontiers as well as his influential dissemination of photography, film, and television in his own work altered both painting and art at large. Rauschenberg's seminal works--from his Combines (urban trash on painted surfaces) to his silk screens--are reproduced here in full color; and more recent projects--including ROCI, Rauschenberg's own exhibition organization, which showcases artists from all over the world--are also highlighted by author Sam Hunter of Princeton University. This essential volume includes important interviews with the artist by Alain Sayag and Richard Kostelanetz, as well as a key selection of Rauschenberg's own writings.

PUBLISHER
Ediciones Polígrafa

BOOK FORMAT
Hardcover, 8.5 x 11 in. / 160 pgs / 125 color / 20 bw.

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Active

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Catalog: SPRING 2007 p. 69   

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ISBN 9788434311237 TRADE
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Black Paintings: Robert Rauschenberg, Ad Reinhardt, Mark Rothko, Frank StellaBlack Paintings: Robert Rauschenberg, Ad Reinhardt, Mark Rothko, Frank Stella

Published by Hatje Cantz.
Edited by Stephanie Rosenthal.

In the late 1940s, several prominent artists of the New York School--among them Robert Rauschenberg, Ad Reinhardt, Mark Rothko and Frank Stella--were intently studying the color black. That work, interrelated but not collaborative, resulted in an astonishing number of almost monochromatic black paintings, which today are considered treasures of many major collections, including the Whitney Museum of American Art's. For the first time, Black Paintings gathers all of the best of the title artist's black works together: textured black, striped black, blue-black, brown-black, black-black. In thorough illustration and thoughtful analysis, it sheds light on the differences between these postwar works as well as their commonalities. For Frank Stella and Robert Rauschenberg, black was a way to disappear into something new, a way to a new artistic vocabulary. For Mark Rothko, it stood for emptiness and nothingness; it asked the spectator to reflect back on it. For Ad Reinhardt, it offered denial and invisibility. Each artist's black portfolio reflects a breakthrough or transition in his own work, and, combined, they represent a larger moment of transition. The Black Paintings marked both a beginning and an end: the end of painting as illusion, as a window onto the world, and the beginning of painting as the mode for the creation of self-sufficient perceptual objects--a change that granted new roles to both artist and viewer.

PUBLISHER
Hatje Cantz

BOOK FORMAT
Hardcover, 9.5 x 12.5 in. / 204 pgs / 64 color / 122 bw.

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Pub Date
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Catalog: SPRING 2007 p. 48   

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ISBN 9783775718608 TRADE
List Price: $60.00 CDN $70.00

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STATUS: Out of print | 11/28/2010

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Robert Rauschenberg: CombinesRobert Rauschenberg: Combines

Published by The Museum of Contemporary Art, Los Angeles.
Edited and introduction by Paul Schimmel.

Poetic and lush, Robert Rauschenberg's Combines present layers of complex and sometimes conflicting information. This approach, first explored by Rauschenberg in the early 1950s, proved prescient and has become increasingly relevant in the current age of cascading information, when even the most ground-breaking artists are referencing and sampling disparate elements to create new forms. The Combines suggest the fragility of definitions, the fluidity of materials and the complexity of forms that are characteristic of Rauschenberg's works. The artist's handling of materials provides a precise physical evolutionary link between the painterly qualities of Abstract Expressionism and iconographical, subject-driven early Pop art. This book focuses on the works created roughly between 1954 and 1964, the most important decade in the artist's 50-year career, and constitutes the most complete survey of the Combines ever presented, as well as the most rigorous analysis of their political, social, autobiographical and aesthetic significance. An introductory essay by exhibition curator Paul Schimmel titled “Reading Rauschenberg” offers an iconographic analysis of the earlier Combines, based on in-depth conversations with the artist. Other texts help to contextualize the Combines, such as Thomas Crow's essay that calls them the major artistic statement of their time, and the one body of art that could simultaneously hold its own from de Kooning to Pop art.

PUBLISHER
The Museum of Contemporary Art, Los Angeles

BOOK FORMAT
Clth, 9.75 x 12.25 in. / 324 pgs / 172 color.

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Catalog: FALL 2005 p. 9   

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ISBN 9783865211453 TRADE
List Price: $75.00 CDN $99.00 GBP £65.00

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