Robert Rauschenberg's Combines, created between 1954 and 1964, represent a pivotal series in the artist's career and in the broader context of 20th-century art. These works, as the name suggests, combine aspects of painting and sculpture, blurring the lines between these artistic categories. The Combines are known for their integration of non-traditional materials and objects, including newspaper clippings, fabric, paint, and found objects, into the realm of fine art. This radical approach allowed Rauschenberg to endow new significance to ordinary objects by placing them within an artistic context, challenging conventional perceptions of what art could be (Rauschenberg Foundation).
The surfaces of these Combines are irregular, covered with an array of materials such as comic strips, old photos, posters, and even items like wood, metal, and mirrors. This collage of materials creates a rich texture and depth, making each piece a complex visual experience that invites the viewer to explore and interpret the work in multiple ways. For instance, the use of a multicoloured fabric curtain in one of the Combines serves not just as a decorative element but as a functional part of the composition, demonstrating Rauschenberg's interest in the interplay between form and function, art and life (Centre Pompidou).
Titles hold particular significance in Rauschenberg's Combines, serving as starting points or provocations that contribute to the overall meaning of the work. When a piece is titled "Untitled," it emphasizes the absence of a predetermined narrative, leaving the viewer free to engage with the work without preconceived notions, reinforcing the open-endedness and interpretive freedom that are hallmarks of Rauschenberg's approach. This strategy underscores the artist's belief in the individuality of perception, asserting that art can serve as a means of individuation, distinct from the collective experiences shaped by social, ideological, or political forces (Centre Pompidou).
One of the most famous Combines, "Monogram" (1955-59), showcases an angora goat encircled by a tire on a painted base, adorned with various collages and objects. This work exemplifies Rauschenberg's innovative use of materials and his ability to create new meanings through their unexpected combinations. Unlike the surrealists' assemblages, which often sought subconscious associations, Rauschenberg's Combines like "Monogram" do not aim for perceptive unity but rather celebrate the distinct identities of the combined elements, inviting the viewer to find meaning in their juxtaposition (Centre Pompidou).
"Black Market" (1961) further explores the interactive potential of the Combines by incorporating elements that invite viewer participation. Originally designed for an exhibition, this work included a suitcase filled with various objects and a card inviting viewers to exchange a personal item for one in the case, thus engaging in a "black market" of significance and altering the work's meaning with their contributions. This aspect of the Combines underscores Rauschenberg's interest in the dynamic and ever-changing nature of art, reflecting the flux of life itself (Centre Pompidou).
Rauschenberg's Combines represent a significant departure from traditional art forms, embodying his belief that art relates to both life and the real world. By incorporating everyday objects and materials into his works, he challenged established artistic boundaries and opened up new possibilities for the integration of life and art, setting the stage for future artistic movements and continuing to influence artists to this day.