Robert Rauschenberg: influences, peers and legacy

Every connection with its receipt

Robert Rauschenberg built art in "the gap between art and life," and his map runs through Black Mountain College, the Cage–Cunningham circle, and the junk-strewn streets of lower Manhattan. This mix traces the Dada precursors and Bauhaus discipline behind the Combines, the dancers and engineers who pulled him out of painting entirely, and the generations who inherited his permission to put anything into a picture.

The Kynda mix for Robert Rauschenberg

• Key Influence · Bicycle Wheel by Marcel Duchamp (1913). Duchamp's readymade is the licence behind every Combine. Rauschenberg encountered Duchamp's work in New York in the early 1950s — the Arensberg collection and the Sidney Janis Dada show of 1953 — and the two later met through the circle around John Cage, who revered Duchamp. The move of declaring an object art by placing it in art's frame underwrites Monogram's goat and Bed's quilt alike. · Neo-Dada's founding gesture. · Begins the mix.
• Influencia Obscura · The Paper Snake by Ray Johnson (1965). Johnson was an Albers student at Black Mountain alongside Rauschenberg and became the hermit-genius of mail art, mailing fragmentary collages — "moticos" — to a private network for decades. The Paper Snake, published by Dick Higgins' Something Else Press, collects mailings to Higgins. Johnson is the under-documented shadow of the same Black Mountain collage impulse that made Rauschenberg famous. · Collage underground.
• Local Roots · Woman I by Willem de Kooning (1952). The reigning presence of downtown New York when Rauschenberg arrived. In 1953 Rauschenberg talked his way into de Kooning's studio and asked for a drawing to erase; de Kooning, reluctantly, chose a hard one. Erased de Kooning Drawing is unthinkable without the authority of paintings like Woman I — the Abstract Expressionist father figure whose gesture Rauschenberg had to metabolize and remove. · Tenth Street.
• Beyond the Medium · 4'33" by John Cage (1952). Cage premiered his silent piece in 1952, the year after Rauschenberg's White Paintings; Cage credited those blank, light-catching panels as the permission he needed, calling them airports for shadows and dust. The exchange ran both ways at Black Mountain, where Cage's chance operations and indifference to hierarchy reshaped how Rauschenberg let the world decide a picture's content. · Silence as surface.
• Peer · Flag by Jasper Johns (1954). Johns and Rauschenberg were partners and studio neighbours on Pearl and later Front Street from 1954 to 1961, showing each other everything daily, sharing Leo Castelli as dealer and jointly inventing the window-display business Matson Jones to pay rent. Flag's deadpan commonplace object made paint is the other half of the conversation that produced Bed and Monogram. · The decisive peer relation.
• From the Canon · Erased de Kooning Drawing by Robert Rauschenberg (1953). A month of erasing with up to forty rubbers, framed in a mat lettered by Jasper Johns. It is the hinge of the career: an act of destruction performed as drawing, a negotiation with Abstract Expressionism's father figure, and a conceptual work made a decade before Conceptual art existed. Everything later — chance, collaboration, erasure of authorship — is latent in this nearly blank sheet of paper.
• Key Collaborator · Summerspace by Merce Cunningham (1958). Rauschenberg was the Merce Cunningham Dance Company's designer and de facto technical director from the mid-fifties into 1964, touring the world with them. For Summerspace he made pointillist décor and costumes in the same speckled pattern so the dancers dissolved into the backdrop. The Cunningham years taught him that artwork could be performance, light and time rather than object. · Design as camouflage.
• Legacy · Untitled Leg by Robert Gober (1990). Gober's uncanny domestic objects — sinks, drains, a wax leg protruding from a gallery wall — descend directly from the Combine's insistence that furniture and body fragments belong inside art. Gober has spoken about Rauschenberg's importance to his generation, and he later curated projects engaging that lineage. The scavenged, intimate, sexually charged object is Rauschenberg's bequest. · Domestic uncanny.

What influenced Robert Rauschenberg

• Marcel Duchamp. The article places Rauschenberg among the young artists who discovered Duchamp's work. (also via Erased de Kooning Drawing, Bicycle Wheel, Fountain) “Artists like Jasper Johns, Robert Rauschenberg and John Cage had befriended him and seen him as a mentor.” (The Art Newspaper)
• Andy Warhol (1928). The article links Rauschenberg's adoption of silkscreening to a visit to Warhol's studio. (also via Bed, Campbell's Soup Cans) “After a visit to Andy Warhol 's studio that year, Rauschenberg began using a silkscreen process, usually reserved for commercial means of reproduction, to transfer photographs to canvas.” (Wikipedia)
• Josef Albers. Rauschenberg sought out Albers as a teacher at Black Mountain. (also via Homage to the Square) “At Black Mountain , Rauschenberg sought out Josef Albers , a founder of the Bauhaus in Germany , whom he had read about in an August 1948 issue of Time magazine .” (Wikipedia)
• Socrate. Socrate (Erik Satie) — culture for Robert Rauschenberg “The piece is a chance-controlled reworking of Erik Satie's Socrate, and, as both listeners and Cage himself noted, openly sympathetic to its source.” (en.wikipedia.org)
• Bicycle Wheel by Marcel Duchamp. Bicycle Wheel (Marcel Duchamp) — titan for Robert Rauschenberg “Rauschenberg famously stated that "painting relates to both art and life," and he wanted to work "in the gap between the two." Like many of his Dadaist predecessors, Rauschenberg questioned the distinction between art objects and everyda…” (en.wikipedia.org)
• Das Undbild by Kurt Schwitters (1919). Das Undbild (Kurt Schwitters) — titan for Robert Rauschenberg “(En Morn, 1947, for instance, has a print of a blonde young girl included, prefiguring the early work of Eduardo Paolozzi, whilst many works seem to have directly influenced Robert Rauschenberg, who said after seeing an exhibition of Sch…” (en.wikipedia.org)
• Homage to the Square by Josef Albers (1950). Homage to the Square (Josef Albers) — titan for Robert Rauschenberg “At Black Mountain, Rauschenberg sought out Josef Albers, a founder of the Bauhaus in Germany, whom he had read about in an August 1948 issue of Time magazine.” (en.wikipedia.org)
• 4'33" by John Cage (1952). 4'33" (John Cage) — culture for Robert Rauschenberg “Although Rauschenberg considered Albers his most important teacher, he found a more compatible sensibility in John Cage, an established composer of avant-garde music.” (en.wikipedia.org)
• Vaclav Vytlacil. Rauschenberg studied with Vytlacil. “From 1949 to 1952 Rauschenberg studied with Vaclav Vytlacil and Morris Kantor at the Art Students League of New York ,” (Wikipedia)
• Morris Kantor. Rauschenberg studied with Kantor. “From 1949 to 1952 Rauschenberg studied with Vaclav Vytlacil and Morris Kantor at the Art Students League of New York ,” (Wikipedia)
• Fountain by Marcel Duchamp (1917). The article connects Rauschenberg's use of readymades to Duchamp's Fountain. “his use of readymade materials reprised the intellectual issues raised by Marcel Duchamp 's Fountain (1917).” (Wikipedia)
• Black Mountain College. Erased de Kooning Drawing (Robert Rauschenberg) — legacy for Black Mountain College (via Erased de Kooning Drawing) “Many of the college's faculty and students were or would go on to become highly influential in the arts, including Josef and Anni Albers, Ruth Asawa, John Cage, Robert Creeley, Merce Cunningham, Max Dehn, Elaine de Kooning, Willem de Koo…” (en.wikipedia.org)
• The Paper Snake by Ray Johnson (1965). The Paper Snake (Ray Johnson) — ghost for Robert Rauschenberg “== New York years == Johnson moved with Richard Lippold to New York City by early 1949, rejoining Cage and Cunningham and befriending, within the next couple of years, Robert Rauschenberg, Jasper Johns, Cy Twombly, Ad Reinhardt, Stan Van…” (en.wikipedia.org)
• Portraits of Black Mountain College by Hazel Larsen Archer (1949). Portraits of Black Mountain College (Hazel Larsen Archer) — ghost for Robert Rauschenberg “She taught many significant students at the college, including Robert Rauschenberg, Cy Twombly, and Stan VanDerBeek.” (en.wikipedia.org)
• Leaves of Grass by Walt Whitman (1855). Leaves of Grass (Walt Whitman) — culture for Robert Rauschenberg (openlibrary.org)
• Georges Braque (1882). Canyon (Robert Rauschenberg) — legacy for Georges Braque (via Canyon)

Peers and kindred spirits

• Merce Cunningham (1919). Establishes Rauschenberg as resident designer collaborating with Cunningham's company. (also via White Painting (three panel), Bed, Summerspace) “He began designing sets, lighting, and costumes for Merce Cunningham and Paul Taylor .” (Wikipedia)
• Paul Taylor (1960). Rauschenberg designed stage elements for Taylor. (also via Bed, Three Epitaphs) “Paul Taylor, Jack and the Beanstalk , Paul Taylor Dance Company, A Theater for New Dance, Music, and Design, Henry Street Playhouse, New York, May 30. Presented by Dance Associates. Set and costumes by Rauschenberg.” (Robert Rauschenberg Foundation)
• Trisha Brown. Rauschenberg collaborated with choreographer Trisha Brown. (also via Set and Reset) “Lighting by Rauschenberg. Performed by Trisha Brown, William Davis, Judith Dunn, Steve Paxton, Rainer, and Albert Reid.” (Robert Rauschenberg Foundation)
• Jasper Johns. Rauschenberg and Johns partnered on storefront-window designs. (also via Flag) “Artistic collaboration by Jasper Johns and Rauschenberg. Set and costumes by Rauschenberg and Taylor, who is listed under the pseudonym George Tacet.” (Robert Rauschenberg Foundation)
• Susan Weil. Rauschenberg made full-body blueprints with Weil. “Throughout the 1950s, Rauschenberg supported himself by designing storefront window displays for Tiffany & Co. and Bonwit Teller , first with Susan Weil and later in partnership with Jasper Johns under the pseudonym Matson Jones.” (Wikipedia)
• Judson Dance Theater. Rauschenberg choreographed Pelican for Judson Dance Theater. “Robert Rauschenberg, Pelican , Judson Dance Theater, Concert of Dance Number Five , National Arena roller-skating rink, Washington, D.C., May 9.” (Robert Rauschenberg Foundation)
• Carolyn Brown. Brown featured in works choreographed by Rauschenberg. “Lighting for all events by Rauschenberg. Sound for Pelican by Rauschenberg. Dance performed by Carolyn Brown, Per Olof Ultvedt, and Rauschenberg.” (Robert Rauschenberg Foundation)
• Viola Farber. Farber featured in works choreographed by Rauschenberg. “Set and costumes by Rauschenberg. Lighting by Marc May. Music by Hy Gubernick. Performed by Donald Boiteau, Joan Coddlington, Anita Dencks, Viola Farber, Alec Rubin, Leslie Snow, and Taylor.” (Robert Rauschenberg Foundation)
• Steve Paxton. Paxton featured in works choreographed by Rauschenberg. “Lighting by Rauschenberg. Performed by Trisha Brown, William Davis, Judith Dunn, Steve Paxton, Rainer, and Albert Reid.” (Robert Rauschenberg Foundation)
• Talking Heads (1975). Rauschenberg designed the packaging for a Talking Heads album. “The following year, Rauschenberg contributed an original design for a limited edition LP of the Talking Heads’ Speaking in Tongues (for which he won a Grammy)” (Robert Rauschenberg Foundation)
• Merce Cunningham Dance Company by Merce Cunningham. Rauschenberg had a full-time connection to the company through its 1964 tour. “Rauschenberg's full-time connection to the Merce Cunningham Dance Company ended following its 1964 world tour.” (Wikipedia)
• Tatyana Grosman. Rauschenberg participated in a project in Grosman’s sequence of collaborations. (also via Robert Rauschenberg) “Following this came a project by Robert Rauschenberg and Alain Robbe-Grillet .” (Wikipedia)
• Willem de Kooning. De Kooning supplied the drawing and consented to its erasure. (via Erased de Kooning Drawing, Woman I) “Rauschenberg requested a drawing from the Abstract Expressionist painter Willem de Kooning for the express purpose of erasing it as an artistic statement. This conceptual work, titled Erased de Kooning Drawing , was executed with the eld…” (Wikipedia)
• Cy Twombly. Rauschenberg and Twombly appeared in a joint exhibition. (also via Leda and the Swan) “In 1953, Eleanor Ward invited Rauschenberg to participate in a joint exhibition with Cy Twombly at the Stable Gallery .” (Wikipedia)
• Story. Rauschenberg designed costumes and sets for Story. “Before each performance dancers chose an outfit from a pile of second-hand clothes picked out by the designer, Robert Rauschenberg .” (Wikipedia)
• XOVER. XOVER was Cunningham's final collaboration with Rauschenberg. “In 2007, MCDC premiered XOVER , Cunningham's final collaboration with Rauschenberg, at Dartmouth College in New Hampshire.” (Wikipedia)
• Woman I by Willem de Kooning (1952). Woman I (Willem de Kooning) — geography for Robert Rauschenberg “In a famously cited incident of 1953, Rauschenberg requested a drawing from the Abstract Expressionist painter Willem de Kooning for the express purpose of erasing it as an artistic statement.” (en.wikipedia.org)
• Campbell's Soup Cans by Andy Warhol (1962). Campbell's Soup Cans (Andy Warhol) — peer for Robert Rauschenberg “After a visit to Andy Warhol's studio that year, Rauschenberg began using a silkscreen process, usually reserved for commercial means of reproduction, to transfer photographs to canvas.” (en.wikipedia.org)
• Set and Reset by Trisha Brown (1983). Set and Reset (Trisha Brown) — collaborator for Robert Rauschenberg “Rauschenberg did not choreograph his own works after 1967, but he continued to collaborate with other choreographers, including Trisha Brown, for the remainder of his artistic career.” (en.wikipedia.org)
• Billy Klüver. Rauschenberg worked with Klüver on technology-based art experiments. “He later explored his interest in technology while working with Bell Laboratories research scientist Billy Klüver . Together they realized some of Rauschenberg's most ambitious technology-based experiments,” (Wikipedia)
• Experiments in Art and Technology. Rauschenberg and Klüver launched Experiments in Art and Technology. “In 1966, Klüver and Rauschenberg officially launched Experiments in Art and Technology (E.A.T.), a non-profit organization established to promote collaborations between artists and engineers.” (Wikipedia)
• Theatre Piece No. 1 by John Cage. Rauschenberg participated in Cage's Theatre Piece No. 1. “He was first exposed to avant-garde dance and performance art at Black Mountain College, where he participated in John Cage's Theatre Piece No. 1 (1952), often considered the first Happening .” (Wikipedia)
• Rauschenberg Overseas Culture Interchange. Rauschenberg started the Rauschenberg Overseas Culture Interchange. “In 1984, Rauschenberg announced the start of his Rauschenberg Overseas Culture Interchange (ROCI) at the United Nations .” (Wikipedia)
• Change, Inc.. Rauschenberg created the artist-assistance program Change, Inc. “In 1970, Rauschenberg created a program called Change, Inc., to award one-time emergency grants of up to $1,000 to visual artists based on financial need.” (Wikipedia)
• Robert Rauschenberg Foundation. Rauschenberg created the Robert Rauschenberg Foundation. “In 1990, Rauschenberg created the Robert Rauschenberg Foundation (RRF) to promote awareness of the causes he cared about, such as world peace, the environment and humanitarian issues.” (Wikipedia)
• Theater Piece No. 1 by John Cage (1952). Cunningham’s account places Rauschenberg and Cage in the collaborative 1952 performance. “Robert Rauschenberg’s white paintings were on the ceiling, Rauschenberg himself played records, and Cage talked. I danced…” (Merce Cunningham Trust)
• David Byrne. The foundation’s archival account identifies a professional and personal relationship with Byrne. “Together, these disparate pieces illustrate the start of Rauschenberg’s professional and personal relationship with David Byrne, who would become a lifelong friend.” (Robert Rauschenberg Foundation)
• Alain Robbe-Grillet. Rauschenberg and Robbe-Grillet made a project together. “Following this came a project by Robert Rauschenberg and Alain Robbe-Grillet .” (Wikipedia)
• Chief by Franz Kline (1950). Chief (Franz Kline) — geography for Robert Rauschenberg “Art historian David Anfam notes that artists including Robert Rauschenberg, Aaron Siskind, Cy Twombly, Mark di Suvero, and Brice Marden have called Kline an inspiration.” (en.wikipedia.org)
• Flag by Jasper Johns (1954). Flag (Jasper Johns) — peer for Robert Rauschenberg “Thereafter, Rauschenberg had romantic relationships with fellow artists Cy Twombly and Jasper Johns, poet John Giorno, among others.” (en.wikipedia.org)
• Leda and the Swan by Cy Twombly (1962). Leda and the Swan (Cy Twombly) — peer for Robert Rauschenberg “From 1949 to 1952 Rauschenberg studied with Vaclav Vytlacil and Morris Kantor at the Art Students League of New York, where he met fellow artists Knox Martin and Cy Twombly.” (en.wikipedia.org)
• Summerspace by Merce Cunningham (1958). Summerspace (Merce Cunningham) — collaborator for Robert Rauschenberg “He began designing sets, lighting, and costumes for Merce Cunningham and Paul Taylor.” (en.wikipedia.org)
• Three Epitaphs by Paul Taylor (1956). Three Epitaphs (Paul Taylor) — collaborator for Robert Rauschenberg “He began designing sets, lighting, and costumes for Merce Cunningham and Paul Taylor.” (en.wikipedia.org)
• Geodesic Dome by Buckminster Fuller (1949). Geodesic Dome (Buckminster Fuller) — geography for Robert Rauschenberg
• New York School. The article associates Rauschenberg's work with the New York School.
• Conceptual art. The article associates Rauschenberg's work with Conceptual Art.
• Pop Art. The article associates Rauschenberg's work with Pop art.
• Neo-Dada. The article associates Rauschenberg's work with Neo-Dada.

Who Robert Rauschenberg influenced

• John Cage. Harris identifies Rauschenberg’s white paintings as an inspiration for Cage’s 4′33″. (also via White Painting, 4'33", Theatre Piece No. 1) “Although Rauschenberg considered Albers his most important teacher, he found a more compatible sensibility in John Cage , an established composer of avant-garde music.” (Wikipedia)
• Los Moscos by Mark Bradford (2004). Los Moscos (Mark Bradford) — legacy for Robert Rauschenberg (wikidata.org)
• Jean-Michel Basquiat (1960). Basquiat found artistic inspiration in Rauschenberg's work.
• Untitled Leg by Robert Gober (1990). Untitled Leg (Robert Gober) — legacy for Robert Rauschenberg
• Sextant in Dogtown by David Salle (1987). Sextant in Dogtown (David Salle) — legacy for Robert Rauschenberg