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Robert Rauschenberg Foundation  Fosters the artistic and philanthropic legacy of artist Robert Rauschenberg.

We are currently accepting applications for the Robert Rauschenberg Foundation Archives Research Residency! This program is an opportunity for researchers and scholars to spend one to two weeks researching at the Rauschenberg Foundation and its archives in New York City. The archives, the most comprehensive body of information relating to Rauschenberg's life and career, consist of Rauschenberg’s personal papers and records from his studios. The program provides partial support for accommodations and other travel expenses related to the visit. Applications are due November 2. Check out the link in our bio to apply!
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Rauschenberg at the Miami Herald, looking through photography archives for source material for Cover for Tropic, The Miami Herald (1979), published in an edition of 600,000 in Miami, December 1979. Photo: Attributed to John Doman
#rauschenberg #robertrauschenberg

We are excited to see the new exhibition "Judson Dance Theater: The Work Is Never Done" @themuseumofmodernart.
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In honor of the opening, here is #RobertRauschenberg performing with Steve Paxton in #YvonneRainer's Parts of Some Sextets (1965), at Judson Memorial Church. "A performance for 10 people and 12 mattresses," as described by Rainer, this performance took place on March 25, 1965 as part of a #JudsonDanceTheater program entitled "Yvonne Rainer and Robert Morris." In addition to Rauschenberg, Rainer, and Paxton, the other performers were Lucinda Childs, Judith Dunn, Sally Gross, Deborah Hay, Tony Holder, Robert Morris, and Joseph Schlichter. Rauschenberg also provided technical assistance and lighting for the event.
Photo: Phil MacMullan #Judsondance

In remembrance of 9/11 today, we share a photograph taken by Rauschenberg of the Twin Towers in 1981 as part of his 'In + Out City Limits' photography series, which captures the architecture and the memory.
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"The photos of 'In + Out City Limits' make no attempt to totally document, moralize or editorialize the specific locations. They are a collection of selected provocative facts (at least to me) that are the results of my happening to be there." —Robert Rauschenberg
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#neverforget #september11
#Rauschenberg, "New York City," 1981 part of "In + Out City Limits"

#Reposting @thebroadmuseum -- “Painting relates to both art and life. Neither can be made. I try to act in that gap between the two.” –#RobertRauschenberg
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Founding Director Joanne Heyler notes, “Rauschenberg’s work brings the news so to speak in that it’s always laced with clues to the artist’s life as it existed in the very moment the artwork was made. In this case, if you look carefully, you would find a newspaper with a date on it, with the year 1954.” Rauschenberg’s Untitled, 1954, is back on view after being displayed at @themuseumofmodernart, and can be seen alongside his other works, Scripture II, 1974 – on view for the first time – and Untitled, 1963. #broadcollection
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Robert Rauschenberg, Untitled, 1954. Oil, fabric and newspaper on canvas. © @rauschenbergfoundation / Licensed by VAGA, New York, NY

It's #femalefilmakerFriday and we are dedicating this post to Rauschenberg's friend and conspirator: the multi-media artist, film-maker, and #female powerhouse Niki de Saint Phalle!
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In 1961, #Rauschenberg participated in one of Saint Phalle’s notorious "Tirs séances," or “shooting performances,” in which Saint Phalle and invited guests fire guns at paint-filled bags on a canvas. The punctured paint bags would burst and drip, producing a cinematic scene, and a violent and spontaneous artwork.  _
Saint Phalle made a “portrait” of Rauschenberg entitled "Homage to Bob Rauschenberg (Shot by Rauschenberg)" (1961). The work included an assemblage of found objects – akin to Rauschenberg’s Combines (1954–64) – that was initially painted white until Rauschenberg was asked to shoot the attached paint bags. During the performance he shouted, “Red! Red! I want more red!” _
A decade later, Saint Phalle would pay tribute to "Tirs séances" at the end of her surreal and semi-autobiographic 1972 #film "Daddy" by shooting her 1962/1972 artwork "La Mort du Patriarche" with a gun.
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Photo Credit 1: Rauschenberg shooting at Grand Tir séance, Stockholm, 1961, Shunk-Kender © J. Paul Getty Trust.
Photo Credit 2: Niki de Saint Phalle, Rauschenberg, and Tinguely at de Saint Phalle’s “Tir” in a sandpit near Värmdö, Sweden, 1961, Shunk-Kender © J. Paul Getty Trust.

Our hearts are heavy today after hearing news that the brilliant choreographer Paul Taylor has passed away. Taylor and Rauschenberg were kindred spirits and iconoclasts of their generation. During the 1950s, the two developed a productive working relationship.
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Their first collaboration resulted in Rauschenberg’s accompanying costumes and set for Taylor’s dance “Jack and the Beanstalk” (1954). The beanstalk that Rauschenberg designed was a gas-filled balloon on a string.  In an interview with @sothebys in 2014, Taylor reminisced: “After [the dance] was over, Bob and I went out in the alley behind the theatre, let the balloon go, and watched it disappear.”
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Taylor may have disappeared from the world’s stage, but his contribution to the art of #dance will always be remembered.
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Photo credit: Paul Taylor and Leslie Snow performing Paul Taylor Dance Company's “Jack and the Beanstalk.” Set design by Rauschenberg. Henry Street Playhouse. 1954. Bevo Davies.

#Reposting @ulaestudio -- Another NYC heatwave ☀️ #summertime vibes from #RobertRauschenberg on the front lawn at Skidmore Place

In honor of “Rauschenberg: In and About L.A.” currently on exhibition @lacma, here is an L.A. #TBT: the original exhibition poster for one of Rauschenberg’s earliest shows in Los Angeles. The exhibition “Rauschenberg at Dwan” was staged by visionary gallerist Virginia Dwan at her L.A. gallery in 1965. 
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Dwan facilitated the artistic exchange between Los Angeles and New York, championing Rauschenberg's works on the west coast and giving Rauschenberg his first solo #exhibition there in 1962. Dwan recalls: “I felt in having a show of his work that I’d sort of attained something. At last I was playing with the big boys. That was true of so many other shows, but particularly somehow with Rauschenberg, I felt that it was very significant that we were having a show.”
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Visit our oral history webpage to hear Dwan's memories of #Rauschenberg from 2014 (link in bio)

To learn more about Dwan Gallery's impact on the #art world, check out LACMA's recent 2017 exhibition “Los Angeles to New York: Dwan Gallery, 1959–1971”
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Artwork: "Untitled [self-portrait for Dwan poster]" 1965
#RauschenbergInLA

Rauschenberg once said, "L.A. can change any way. It’s soft and malleable and flexible” in a 1998 interview with the @latimes. Fittingly, L.A. would be a place where Rauschenberg shifted and stretched the boundaries of his practice, which manifested in his long-term relationship with the print workshop Gemini G.E.L.

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Rauschenberg’s first collaboration with @geminigel challenged the capacities of printmaking by combining the methods of silkscreen and lithography to produce Booster (1967). Running six feet tall, Booster was the largest hand-pulled lithograph at the time of its construction. #Rauschenberg worked closely with Gemini G.E.L. and their print masters on various projects throughout the rest of his career.
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Years later Rauschenberg established his own print workshop on his Captiva property in 1971, called Untitled Press, Inc. Gemini G.E.L. made the distance from L.A. feel shorter – just a stone’s throw away – by generously contributing lithography stones to Rauschenberg’s Florida press.

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To see more of Rauschenberg’s L.A. works, check out “Rauschenberg: In and About L.A.” at LACMA through February 10, 2019. Tune into the @lacma Instagram story at 2 pm PST/5 pm EST today for a Q&A about Rauschenberg! #RauschenbergInLA #LA

#OnThisDay in the #summer of 1952, Rauschenberg set sail for Palermo, Italy with artist Cy Twombly. The two were traveling to Italy together on an arts fellowship that #Twombly had received from the Virginia Museum of Fine Arts @vmfamuseum . Twombly’s application portfolio was photographed by #Rauschenberg.
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The trip proved to be productive for both artists and provided Rauschenberg with plenty of photographic material. Here are two #photographs Rauschenberg took while they were in Italy!

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Photograph 1: Robert Rauschenberg, Cy + Relics, Rome, 1952
Photograph 2: Robert Rauschenberg, Bob + Cy, Venice, 1952

#Reposting @lacma -- Robert #Rauschenberg's first visit to an art museum occurred in Southern California, while he was stationed at Camp Pendleton in 1944–45. This experience prompted Rauschenberg’s decision to become an artist. "Rauschenberg: In and About L.A." is now on view through February 10, 2019 in the Resnick Pavilion. Visit the exhibition to learn more about how the city influenced his work.
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Photo: Robert Rauschenberg, Los Angeles, California from the series “In + Out City Limits” 1981 © Robert Rauschenberg Foundation #RauschenbergInLA #losangeles

#Reposting @pacegallery -- Robert Rauschenberg's "Vydock" series – large-scale works of acrylic paint, silkscreened images of #RobertRauschenberg’s own photographs and graphite on white aluminum, have rarely been seen since their initial exhibition in 1995. In collaboration with the Robert Rauschenberg Foundation (@rauschenbergfoundation), we're honored to be bringing these works to new light in our recently-opened space in Hong Kong's H Queen's building, opening with a special reception Tuesday, September 18, on view through November 2, 2018. #RauschenbergVydocks
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#Rauschenberg was a tireless innovator in a constant quest to capture our common yet also intrinsically personal experience of the ephemerality of time and our shifting perceptions and recollections of the world around us,” said @MarcGlimcher, Pace Gallery President and CEO. “He was not an artist bound to a particular medium or set of rules, rather he consistently challenged existing parameters of art and prevailing frameworks of modernism. While the Vydock series represents a pivotal phase of Rauschenberg’s ever-evolving practice – uniting his early and late works and introducing key motifs into his creative arsenal; these works have gone largely unseen and underappreciated since they were first shown over twenty years ago. With this exhibition, we are thrilled to take a critical step to change that course, and honored to reintroduce the series to Rauschenberg scholars, collectors and the public alike.”
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On the occasion of the exhibition, Pace will publish a full-color catalogue with an essay, in both English and traditional Chinese, by American poet and critic John Yau.
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Image: Robert Rauschenberg, "Escort (Vydock)" and details, 1995, acrylic and graphite on bonded aluminum, 97” x 60-3/4” (246.4 cm x 154.3 cm) © 2018 Robert Rauschenberg Foundation / Licensed by VAGA, New York, New York

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