In 1959, on the cusp of global notoriety, Robert Rauschenberg declared that his creative ambition was to act within “the gap between art and life”. His unassuming and free-spirited practice, which spanned over six decades, certainly attests to the sentiment – amassing ordinary objects and materials, such as car parts, dried leaves, defunct radios, cardboard boxes and even a stuffed goat (Monogram, 1955–1959) to create challenging and conceptual…
read more »