Choke, 1964.  Robert Rauschenberg. I like that his work is sometimes titled, sometimes not, and that the titles are non-sequiturs to what's happening in the work itself. He doesn't try to impose a narrative on you; he dares you to draw your own conclusions (sorry for pun), and most of the time  you can't. And yet you feel revitalized somehow, maybe from the energy in his work.

Choke, 1964. Robert Rauschenberg. I like that his work is sometimes titled, sometimes not, and that the titles are non-sequiturs to what's happening in the work itself. He doesn't try to impose a narrative on you; he dares you to draw your own conclusions (sorry for pun), and most of the time you can't. And yet you feel revitalized somehow, maybe from the energy in his work.

Robert Rauschenberg — The story has happened; there is nothing left to tell, except for what the artist says.

Robert Rauschenberg — The story has happened; there is nothing left to tell, except for what the artist says.

Robert Rauschenberg’s “Monogram,” a combine from 1955–59 whose centerpiece is a stuffed Angora goat. Credit Images from Robert Rauschenberg Foundation

Robert Rauschenberg’s “Monogram,” a combine from 1955–59 whose centerpiece is a stuffed Angora goat. Credit Images from Robert Rauschenberg Foundation

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