October marked the a centesimal anniversary of the delivery of Robert Rauschenberg, with celebratory exhibitions across the nation. The primary choices I’ve had the pleasure of seeing in particular person have been by means of Gladstone Gallery, which this spring staged “Sympathy for Deserted Objects,” a exceptional present of sculptures that felt extra Dada than Pop due to the way in which they let the absurdity of their mixed supplies converse for themselves. The Proof of Darkness (Kabal American Zephyr) (1981) mixed a fireplace hose with an electrical airport runway gentle that glows haunting blue towards a lead plate. Gazing upon it felt like studying Robert Caro whereas watching Looney Tunes.
Extra not too long ago, the Menil Assortment opened “Robert Rauschenberg: Material Works of the Nineteen Seventies.” In life, Rauschenberg was shut with Dominique de Menil, and because the Nineteen Eighties, the museum has tended to stage one main Rauschenberg exhibition per decade. This newest providing mines an underexplored and experimental facet of the artist’s observe, one notably suited to our fashion-oriented instances.
Rauschenberg introduced a stitching machine to Black Mountain School, and although he’s recognized for his Merce Cunningham costumes, he had a ardour for textiles that went past his common respect for the objects he used for his work. In 1970, he moved from New York to Captiva Island, Florida, on the identical physique of
The Venetians are those which have essentially the most in frequent with the Gladstone sculpture present. Sant’Agnese (Venetian) (1973) sees a mosquito web stretched lengthy between two wooden chairs, the entire ensemble embellished with shoelaces. It feels vital that the backs of the chairs every boast a corked glass jug and that they’re turned away from one another at an important distance—not that the reason for this rift will ever be solved. Rauschenberg beloved obscurity and crimson herrings.
The Hoarfrost collection actually embraces this insurrection towards that means. For them, Rauschenberg ran newspapers and magazines by means of the lithography press at Gemini G.E.L. in Los Angeles, together with some form of translucent material—typically silk, tulle, or gauze. The materials have been stained with ink, although none of it’s meant to be legible. Bucket (Hoarfrost) (1974) options Lucas Cranach The Elder’s The Nymph on the Fountain (c. 1530-1534) alongside a Pierre Cardin dress-shirt advert that reads partially, “His solely concession to success is the selection of materials which might be each distinctif and distingue.” Does this consult with the artist? As he grew extra profitable with these material works, he moved on to the Jammers, which have been impressed by his love of windsurfing and use textiles that intrigue—dyed silks and different supplies chosen for his or her skill to flutter. You possibly can pin them down, however you wouldn’t wish to. The identical may be mentioned of this mysterious and enthralling artist.
“Robert Rauschenberg: Material Works of the Nineteen Seventies” is on view at The Menil Assortment by means of March 1, 2026.
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