Robert Rauschenberg's Cardboards series, created between 1971 and 1972, represents a pivotal moment in the artist's career, marking his exploration of the boundaries between painting and sculpture. This series is distinguished by its use of found cardboard boxes, which Rauschenberg manipulated through cutting, stapling, bending, and combining, all while preserving their original history evidenced by stains, dents, tears, inherent color, and labeling. This choice of material and method underscored a subtle commentary on the materialism and disposability pervasive in modern life, as well as an engagement with the concept of using everyday objects as artistic media (Rauschenberg Foundation).
In developing the Cardboards, Rauschenberg eliminated almost all imagery from his works, adopting a near-monochrome palette that starkly contrasted with the vibrant, complex compositions of his earlier pieces. These works have been viewed as a critical, albeit lesser-known, aspect of his oeuvre, offering deep insight into his creative evolution. The series, along with related works from his Made in Tampa Clay, Cardbirds, Egyptian, and Venetian series, was extensively reproduced and analyzed, providing a comprehensive view of Rauschenberg's engagement with cardboard as a medium. Esteemed scholar Yve-Alain Bois has discussed the Cardboards within the broader context of Rauschenberg's career, highlighting their significance in relation to his other creative pursuits (Музей современного искусства «Гараж»).
One of the earliest works in this series, "Rosalie/Red Cheek/Temporary Letter/Stock (Cardboard)," exemplifies Rauschenberg’s transition from New York City to Captiva Island, Florida. This piece, among others, utilized the markings and wear of found cardboard to reflect on the artist's personal journey and broader themes of impermanence and the everyday. The use of such materials was a departure from the more durable mediums of his New York works, signaling a shift towards materials that were universally accessible and reflected a more transient, ephemeral nature. Rauschenberg’s work with cardboard was also a response to contemporary art movements like Postminimalism, Arte Povera, and Process art, which he encountered during his travels and associations within the art world. This series embodied his ongoing interest in blending art with everyday life, demonstrating that creativity could flourish under any circumstances and with any materials at hand (SFMOMA).