Robert Rauschenberg’s 32-foot-long (~9.7-meter-long) silkscreen portray “Barge” (1962–63) can be amongst over a dozen works exhibited on the Solomon R. Guggenheim Museum in Manhattan this fall, a part of a world celebration of the late American artist’s centennial.
Slated to open October 10 and run by means of April 5, 2026, the exhibition Robert Rauschenberg: Life Can’t Be Stopped will reexamine the artist’s use of visible media and industrial printing methods by means of notable works held within the Guggenheim’s assortment, alongside loans from the Robert Rauschenberg Basis. The present aligns with a string of programming at establishments all over the world in commemoration of Rauschenberg’s start, together with the Museum Ludwig in Cologne, Germany; Fundación Juan March in Madrid, Spain; and the Museum of the Metropolis of New York in Manhattan.
Robert Rauschenberg, “Cot” (1980)
Initially from Texas, the place he was raised with no formal artwork coaching, Rauschenberg is taken into account a pioneering determine of Pop artwork whose work was outlined by his groundbreaking use of supplies that challenged established notions of artwork disciplines — particularly portray and sculpture. He’s notably remembered for his Combines sequence (1954–64), which built-in discovered objects and real-world photos with summary portray, and his collaborations with dancers, musicians, writers, engineers, and different artists.
Within the Guggenheim’s centennial presentation, “Barge” will return to the museum after practically three a long time, following its inclusion in a sweeping 1997–98 retrospective of the artist’s work. An amalgamation of transportation-related imagery and different recognizable visuals pulled from on a regular basis life and Previous Grasp work, it’s the largest piece in Rauschenberg’s sequence of 79 silkscreen work and was produced largely throughout a single 24-hour interval. Different key artworks that can be exhibited embody the crimson mixed-media work “Untitled (Red Painting)” (1953–54) and an untitled silkscreen portray from 1963 centering on choreographer Merce Cunningham, one of many artist’s longtime collaborators.
Robert Rauschenberg, “Untitled” (1963)
“His work encourages viewers to reconsider what art can be, embracing innovation, risk-taking, and the unexpected,” Younger continued, citing the museum’s ongoing mid-career retrospective Rashid Johnson: A Poem for Deep Thinkers for instance of Rauschenberg’s enduring impression. Drawing from varied disciplines together with literature, philosophy, and music, the present meditates on modern Black tradition, historical past, and identification by means of an array of spray-painted textual content canvases, black cleaning soap and shea butter sculptural installations, and video works.
“Johnson, who works across performance, painting, sculpture, and more, is deeply influenced by Rauschenberg’s innovative approach and use of diverse media,” Younger mentioned.
Alongside Life Can’t Be Stopped, a particular efficiency program will concentrate on the artist’s dance collaborations by re-staging choose works with the Trisha Brown Dance Firm and Paul Taylor Dance Firm on October 15 as a part of the Guggenheim’s Works and Course of performing arts sequence.
Robert Rauschenberg, “Untitled [Hotel Bilbao]” (1952)
Robert Rauschenberg, “Religious Fluke” (1962)
