Robert Rauschenberg

Robert Reassurances relate to the unit theme of the ordinary and how does he use ordinary objects within his artworks to create works with depth, meaning and beauty? Innovative and experimental in approach, contemporary American artist Robert Reassurances (1925-2008) has long been considered the pioneer of the modern art world, pning his late 20th to early 21 SST century artistic career to the blurring and challenging of boundaries and distinctions between the artist, the art world and the audience.
By his combination exploration of multiple art forms Including painting, sculpture, photography, performance and screen-printing, much of Raucousness’s practice exemplify the artist’s long held aim of transitioning subject matter to ordinary and found materials, as means of questioning the alienation of everyday life in the approaches of the prominent artists and art styles of his time.
Particularly in a period of abstract expressionism where personalization and highly emotionally charged works fuelled belief In the artist’s conceptualization being key to the appreciation of their respective works, It Is by Raucousness’s deliberate confrontation of the disconnect of the artist’s personal and circadian realities that enables his works to retain avian-garden in meaning and definition of artistic beauty, easing the audience’s ability to interpret his works due to its universal theme of the ordinary.

Reassurance’s ability to manipulate and appropriate mundane and Images of popular culture beyond Its contextual limitations notably lies In his creation of the art form ‘combines’, the hybrid of painting and sculpture that broke conventions of the artist’s canvas. In challenge of the recognized doctrine of medium specificity (an element supported and endorsed by many art critics of his time), Robert Reassurances explicitly Juxtaposed both the AD and AD forms in such combines, providing the meta-narrative to his works through the now theoretically limitless plane.
Exemplified by one of his first combines, ‘Monogram’ (1955-1959), the compilation of a stuffed goat breaking through a found car tyro upon a painting transcends into a manifestation of the artist himself, where despite the absurdity of the objects incorporated, their combination symbolism deciphers the works overall meaning and beauty. Where Raucousness’s emerging sexuality (I. E. Bisexuality) became subject to criticism during the rand sass’s, ‘Monogram’ translates such themes by appropriation of the goat as a scapegoat, re-conceptualizing the goat to its religious and Christian counterpart.
The tightly fitted tyro transcends into an illustration of society and its demands, drawing upon the imagery of the needle eye in reflection of Raucousness’s inability to conform to the artistic demands of the mid 20th century art world, where the AD canvas base becomes appropriation of the ‘grazing land’ Reassurances both symbolically destroys and feeds off ambitious style of abstract expressionism, playing to his desire to “respect abstract expressionism enough not to copy it”, instead manipulating the vividness of the style’s powerful strokes and mark-making to a thesis of violence integrated with the personal sphere as symbolizes by the bed.
Using the methods of combines and its resulting concept of frames dimensions, Reassurance’s ‘Bed’ reverts the physical deed’s customary purpose by being hung upon the wall as the canvas, confirming the object’s re-conceptualization and subsequent transfer of meaning into the representation of intimacy and the personal world. By the practice of combines, Reassurances exposes a lost and neglected path of interaction between the artist, the art world and the audience, effectively proposing and confirming the exponential possibility of art and its purpose in the world as a result of the incorporation of the themes and identities associated with the ordinary.