Robert Raushenberg

Robert Rauschenberg was born in the year of 1925 at Port Arthur, Texas. When growing up he wanted to become a minister, but gave it up because the church forbid music and dancing, and he loved to dance. In 1942 he ended up studying pharmacy at the University of Texas. Between the years of 1942 and 1944 he was drafted, and served in the U.S. Marine Core. He was honorably discharged after his term was up in 1945. Robert Rauschenberg studied many different subjects such as, sculpture, art history, and music between the years of 1947 and 1948. He studied at the Art Institute of Kansas City. In 1948 he would meet his future wife, Susan Weil at the Academie Julian, Paris.

In 1949 both Robert and Susan returned to the USA to study under Joseph Albers at Black Mountain Collage, in North Carolin

In 1958 he had his first exhibition at the Leo Castelli gallery and began to do his drawings for Dante’s “Inferno”. In 1962 he used his technique of silk-screening on canvas, mixed with painting, collage and affixed objects for the first time ever. Robert also did his first work with litographic, which he was given the award of Grand Prix at Ljubljana. Robert Rauschenberg gave his retrospective exhibition in Europe at the Galerie of Sonnabend, and in New York at the Jewish Museum for the first time, he also went on to produce his first dance Performance called Pelican. Robert gave yet another retrospective exhibition at the Whitechepel Gallery, London and won the Grand Prix at the Venice Biennale.

Even though Robert Rauschenberg was married many people do not know that he had a long-standing relationship with a man named Jasper Jones. The reason why most people have not heard of this information is because it to place during the McCarthy Era “a time when the closet was not a social convention, but a political necessity. If he had made this a well-known key influence the course of American Art world would have been changed, as we know it now.

What Robert Rauschenberg want to do to his base of the Monogram was simple. He wanted to make the pasture go with the goat. He had the pasture made with nails and wood. Then he added clippings from articles and newspapers to give it the visual effects of a collage pasture. Robert then got a goat from a second-hand office furniture store in Manhattan. The goat is mounted on the 2-dementional platform, which is the “pasture”. The last thing Robert Rauschenberg did to complete the piece was add an automobile tire around the goats mid-section. The tire represents its volume, which composes the 3-dentionality of its Pop Arts piece. 42x63.5x64.5 in was the size of the work. All of the materials are as follow oil, fabric, wood, rubber heel, tennis ball, metal plaque, stuffed goat, rubber tire, mounted on four wheels.

Monogram is a sorted collage of combined panting or a high relief collage, which Rauschenberg worked on over a five-year period. Rauschenbergs combined paintings as “a situation involving multiplicity.” They are a kind of other in the same space. In Rauschenberg’s words, “A pair of socks is no less suitable to make a painting with than wood, nails, turpentine, oil and fabric.” Nor, apparently, is a stuffed Angora goat.

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