“Half in Jest / Half Unjust” (ca. 1960) and letter to Philip Pavia, May 31 (ca. 1960). In Catherine Craft. “Lost and Found.” Art in America (New York) 99, no. 10 (Nov. 2011).

“Short Stories—2K+1, You Are the Author.” In Robert Rauschenberg: Short Stories, unpaginated. Exh. cat. Zurich: Galerie Jamileh Weber, 2001. Reprinted in Short Stories by Robert Rauschenberg, Exh. cat. New York: Pace Wildenstein, 2003.
1999
“About My Paintings.” In Rauschenberg: Anagrams (A Pun), unpaginated. Exh. cat. New York: Pace Wildenstein, 1999.
“Acceptance by Robert Rauschenberg.” Gold Medal for Painting. Proceedings of the American Academy of Arts and Letters (New York) 2nd series, no. 50 (1999).
Statement in “Indelible Memories.” American Photo (New York) 10, no. 6 (Nov.–Dec. 1999).
1998
Statement in “Reflections on Dominique de Menil.” Houston Chronicle, Jan. 1, 1998, sec. A, p. 20.

“Haywire—Durcheinander: In Erinnerung an das Leben und die Liebe, für Bill de Kooning.” Süddeutsche Zeitung (Munich), March 21, 1997, p. 13.
“Seen of the Crime.” Grand Street (New York), no. 62 (Autumn 1997), p. 21.
1996
Statement in Thyrza Nichols Goodeve. “Genius Envy.” Artforum (New York) 35, no. 3 (Nov. 1996), p. 10.

“Message from the Second Hiroshima Art Prize Winner.” In The Second Hiroshima Art Prize: Robert Rauschenberg, pp. 10–11 (in English and Japanese). Exh. cat. Hiroshima City Museum of Contemporary Art, 1993.
Statement in New York on Paper, p. 1. Exh. brochure. Basel: Galerie Beyeler, 1993.

Statements in “The Art of Assemblage: A Symposium (1961).” Transcript edited by Joseph Ruzicka with introduction by Roger Shattuck. In Essays on Assemblage, edited by John Elderfield, pp. 124–58 passim. Studies in Modern Art 2. New York: Museum of Modern Art, 1992.
Statement in Terra motus alla Reggia di Caserta, p. 132. Exh. cat. Naples: Fondazione Amelio, Istituto per l’Arte Contemporanea, Electa Napoli, and Guida Editori, 1992.
Statement in Visions of America, p. 23. Los Angeles: Democratic National Convention, 1992.
“Alquiloni (Kites).” Abitare (Milan), no. 305 (March 1992), pp. 205–09 (in English and Italian).

Statement in Donald J. Saff. “Conservation of Matter: Robert Rauschenberg’s Art of Acceptance.” Aperture (New York), no. 125 (Autumn 1991), p. 26.
“Tobago Statement” (Oct. 22, 1984). In Rauschenberg Overseas Culture Interchange, p. 154. Exh. cat. Washington, D.C.: National Gallery of Art, 1991.

Statement in “A Collective Portrait of Andy Warhol.” In Andy Warhol: A Retrospective, edited by Kynaston McShine, p. 429. Exh. cat. New York: Museum of Modern Art, 1989.
Statement in “Willem de Kooning, on His Eighty-Fifth Birthday.” Special issue of Art Journal (College Art Association, New York) 48, no. 3 (Autumn 1989), p. 232.
Statement in Dodie Kazanjian. “Cube Roots.” Vogue (New York) 179, no. 9 (Sept. 1989), p. 729.
Statement in “What Is Pornography?” Artnews (New York) 88, no. 8 (Oct. 1989), pp. 138–43.

Statements in Craig Bromberg. “That Collaborative Itch.” Artnews (New York) 87, no. 9 (Nov. 1988), p. 162.

Statement in The International Art Show for the End of World Hunger, p. 32. Exh. cat. Minnesota Museum of Art, St. Paul. New York: Artists to End Hunger, 1987.
Statement in A Tribute to John Cage, p. 34a. Exh. cat. Cincinnati: Carl Solway Gallery, 1987.
Statement in U.S. Senate Committee on the Judiciary. Hearings on the Nomination of Hon. Robert H. Bork to Be Associate Justice of the Supreme Court of the United States, 100th Cong., 1st sess., 1987. Rauschenberg’s testimony appears pp. 213–42 passim. Reprinted in part in “Panel Hearing on Bork as Justice: Professors and Artists Voice Their Views.” New York Times, Sept. 23, 1987, sec. A, p. 28.
1986.
Statement in Harvey Stein. Artists Observed, p. 158. New York: Harry N. Abrams, 1986.
Statement in Wendy Lin. “The Boy from Port Arthur.” Art and Antiques (Marion, Ohio) (Feb. 1986), p. 60.
Statement (May 1, 1986) in Beuys zu Ehren, p. 478. Translated by Claudia Schinkievicz. Exh. cat. Munich: Städtische Galerie im Lenbachhaus, 1986.

“Manifesto.” In El soñado mundo de Rauschenberg: ROCI, p. 4. Exh. brochure. Mexico City: Museo Rufino Tamayo Contemporáneo Internacional. Reprinted in exh. cats. and brochures for subsequent ROCI venues.

Statement in Denise Domergue. Artists Design Furniture, p. 131. New York: Harry N. Abrams, 1984.
Statement in “If You Had Your Fondest Wishes for the Arts.” New York Times, Jan. 1, 1984, sec. 2, p. 16.
Statement (Feb. 1, 1984) in Rauschenberg, unpaginated (in English). Exh. cat. Basel: Galerie Beyeler, 1984.

Statement in David Sears. “A Trisha Brown–Robert Rauschenberg Collage.” Ballet Review (New York) 10, no. 3 (Autumn 1982), pp. 47–51.

Klüver, Billy, and Robert Rauschenberg. “Art en mouvement: Souvenirs conjugués/Kunst in beweging: Een gekombineerde herinnering.” In Le Moderna Museet de Stockholm à Bruxelles/Het Moderna Museet Van Stockholm te Brussel, pp. 35–40. Exh. cat. Brussels: Palais des Beaux-Arts, 1981. Reprinted as “Rörelse i konsten—en kombinerad minnesbild.” In Moderna Museet 1958–1983, pp. 143–50. Stockholm: Moderna Museet, 1983. Reprinted as “Art in Motion—A Combined Memory.” Konsthistorisk tidskrift/Journal of Art History (Stockholm) 76, nos. 1–2 (2007), pp. 114–18.
Statement in Rauschenberg. Photos In + Out City Limits: Boston. West Islip, N.Y.: Universal Limited Art Editions, 1981. Standard and deluxe editions. Reprinted in Rauschenberg. Photos In + Out City Limits: New York C. West Islip, N.Y.: Universal Limited Art Editions, 1982.
Statement (Jan. 11, 1981) in Rauschenberg Photographe, unpaginated. Translated by Didier Pemerlein. Exh. cat. Paris: Centre Georges Pompidou, Musée National d’Art Moderne and Éditions Herscher, 1981. Reprinted in Robert Rauschenberg Photographs. New York: Pantheon Books; London: Thames and Hudson, 1981. Revised and reprinted in American Photographer (New York) 7, no. 5 (Nov. 1981), pp. 86–91. Translated and reprinted in Robert Rauschenberg fotografia. Exh. cat. Forte di Belvedere, Florence. Florence: Alinari, 1982.
Statement in “Trans World: Rauschenberg at the Tate.” Horizon (Tuscaloosa, Ala.) 24, no. 5 (May 1981), p. 15.
1980
Statement in “The Painters’ Word: 39 Lofty Views on Picasso.” SoHo Weekly News (New York), May 21, 1980, p. 13.
Statement in Richard Turner. “Campaign Spending Loophole Makes Artists New Power Brokers.” Los Angeles Herald Examiner, June 2, 1980, sec. A, p. 3.
Statement in Grace Glueck. “How Picasso’s Vision Affects American Artists.” New York Times, June 22, 1980, sec. 2, p. 25.
Letter to Ellen Sharp on cliché-verre (June 27, 1980). Printable News (Detroit Institute of Arts) (Dec. 1980), p. 5.
1979
Statement in Gerrit Henry. “Paper in Transition.” Print Collector’s Newsletter (New York) 10, no. 3 (July–Aug. 1979), p. 84.
Statement in Grace Glueck. “Paradigms, Watersheds and Frosting on the Cake.” Artnews (New York) 78, no. 8 (Oct. 1979), p. 202.
Contribution in “What Is Your Favorite Photograph? 13 Celebs Searched Their Souls—and Files.” People (New York) 12, no. 26 (Dec. 24, 1979), p. 120.

Statement in Judith Goldman. “Touching Moonlight.” Artnews (New York) 77, no. 9 (Nov. 1978), p. 63.

Statement in Twelve Americans: Masters of Collage, unpaginated. Exh. cat. New York: Andrew Crispo Gallery, 1977.
Statement (Feb. 26, 1976) in Philip Smith. “To and about Robert Rauschenberg.” Arts Magazine (New York) 51, no. 7 (March 1977), p. 121.
Statement in “White in Art Is White?” Print Collector’s Newsletter (New York) 8, no. 1 (March–April 1977), p. 3.
Statement in Grace Glueck. “The 20th-Century Artists Most Admired by Other Artists.” Artnews (New York) 76, no. 9 (Nov. 1977), pp. 95–96, 97.

Statement (Oct. 4, 1974) in Merce Cunningham, edited by James Klosty, p. 83. New York: Saturday Review Press; E. P. Dutton, 1975.
1973
Statement (1970) in Douglas Davis. “Robert Rauschenberg: Technology as Nature.” In Davis. Art and the Future: A History/Prophecy of the Collaboration Between Science, Technology and Art, p. 144. New York: Praeger, 1973.
Statements in “History.” In Jack Cowart and James Elliott. Prints from the Untitled Press, Captiva, Florida, pp. 5–6. Exh. cat. Hartford, Conn.: Wadsworth Atheneum, 1973.
Statement in Marcel Duchamp, edited by Anne d’Harnoncourt and Kynaston McShine, p. 217. Exh. cat. New York: Museum of Modern Art; Philadelphia: Philadelphia Museum of Art, 1973.

“Note: Cardbirds.” In Rauschenberg: Cardbirds. Exh. brochure. Los Angeles: Gemini G.E.L, 1971.

“Introduction.” In Rauschenberg Currents, unpaginated. Exh. cat. Minneapolis: Dayton’s Gallery 12, 1970.
“Work Notes—1962.” In Edward A. Foster. “Introduction.” In Robert Rauschenberg: Prints 1948/1970, unpaginated. Exh. cat. Minneapolis Institute of Arts, 1970.
Statement on Currents. Exhibition announcement. New York: Automation House and Castelli Graphics, 1970. Reprinted in Douglas Davis. “What Is Content? Notes Toward an Answer.” Artforum (New York) 12, no. 2 (Oct. 1973), p. 60.
Statement on Signs. Exhibition announcement. New York: Automation House and Castelli Graphics, 1970.
Statement in “Dance Magazine Awards: Recognition of a World Community.” Dance Magazine (New York) 44, no. 8 (Aug. 1970), p. 59.
Frederick R. Weisman Museum, Pepperdine University, Malibu, It’s All Black and White: Contemporary Art from the Frederick R. Weisman Art Foundation
1969
“Autobiography.” In Andrew Forge. Rauschenberg, pp. 225–29. New York: Harry N. Abrams, 1969.
Statement in Art Now: New York (University Galleries, New York) 1, no. 5 (May 1969), unpaginated portfolio.
Statement in Alain Hervé. “Eating into Art.” Réalités (Paris), no. 225 (Aug. 1969), pp. 52, 54.
“Robert Rauschenberg: Notes on Stoned Moon Lithographic Project (Oct. 28, 1969).” Studio International (London) 178, no. 917 (Dec. 1969), cover and pp. 246–47.
1968
Statement (Feb. 1968) in “Robert Rauschenberg: Soundings.” Members Newsletter, Museum of Modern Art (New York), no. 1 (Oct. 1968), unpaginated.
Statement in “The Arts and the Critic.” Grinnell Magazine (Grinnell College, Iowa) 1, no. 3 (Summer 1968), pp. 33–34.

Statement in Art in Process: The Visual Development of a Collage, unpaginated. Exh. brochure. New York: Finch College Museum of Art, 1967.
“Books: Inside the Endless House, ‘An Invitation to Be Lovable.’” Vogue (New York) 149, no. 5 (March 1, 1967), p. 111. Review of Frederick Kiesler, Inside the Endless House: A Journal on Art, People and Architecture (New York: Simon and Schuster, 1966).
Statement in “How Painters Paint America.” New York Times, May 21, 1967, sec. D, p. 23.

Statement in Leonard Lyons. “The Lyons Den.” Baltimore Sun, Jan. 5, 1966, sec. B, p. 6.

Statement in Rolf-Günter Dienst. Pop Art: Eine kritische Information, p. 117. Translated by Marguerite Schlüter. Wiesbaden, Germany: Limes, 1965.

“Öyvind Fahlström (Oct. 1961).” Art and Literature (Lausanne), no. 3 (Autumn–Winter 1964), p. 219.

“Random Order.” Location (New York) 1, no. 1 (Spring 1963), pp. 27–31.

Statement in 4 Amerikanare: Jasper Johns, Alfred Leslie, Robert Rauschenberg, Richard Stankiewicz, p. 38. Exh. cat. Stockholm: Moderna Museet, 1962.
1959
“How Important Is the Surface to Design? Robert Rauschenberg: An Artist Explains.” Print (New York) 13, no. 1 (Jan.–Feb. 1959), p. 31.
Statement in Contemporary American Painting and Sculpture, p. 258. Exh. cat. Urbana: University of Illinois, 1959.
Statement in Sixteen Americans, edited by Dorothy C. Miller, p. 58. Exh. cat. New York: Museum of Modern Art, 1959. Reprinted in Readings in American Art 1900–1975, edited by Barbara Rose, p. 149. New York: Praeger, 1975.

Statement in “Is Today’s Artist with or Against the Past?” Artnews (New York) 57, no. 4 (Summer 1958), pp. 46, 56.

Lind, Ingela. “Jag ser skönhet överallt.” Dagens Nyheter (Stockholm), Feb. 11, 2007, Kultur, cover and pp. 6–7.

Rauterberg, Hanno. “Ich habe meinen Himmel.” Die Zeit (Hamburg), Jan. 12, 2006, pp. 43–44. Revised and reprinted as “Rauschenberg il rigattiere,” L’Espresso (Rome) (Feb. 23, 2006), pp. 116–20. Translated by Elisabetta Horvat.
“Rauschenberg and Rocky, His Pet Turtle.” Blouin Artinfo, Jan. 23, 2006.
Pissarro, Joachim. Interview with Robert Rauschenberg, Museum of Modern Art Oral History Program, New York, April 20, 2006.
Hermansen, Tom. “De troede, at jeg var evnesvag.” Jyllands-Posten (Viby J, Denmark), May 5, 2006, Kultur, pp. 7–9.
Broida, Gisèle Galante. “Paris accueille Robert Rauschenberg.” Paris Match, no. 2995 (Oct. 18, 2006), pp. 40–41.
Thon, Ute. “Ich brauche Unsicherheit.” Art (Hamburg) (Dec. 2006), pp. 42–53.

Rauschenberg: In the Gap Between, Entretiens avec Robert Rauschenberg. Paris: Archibooks, 2006. With interviews by Jean Daive, June 23, 2005; Emmanuelle Lequeux, June 24, 2005; and Henri-François Debailleux.
Brooks, Rosetta. “Rauschenberg: Round the Block Once or Twice.” Modern Painters (London) (Dec. 2005–Jan. 2006), cover and pp. 70–75.

Costantini, Costanzo. “Rauschenberg: ‘Io a Roma nel ’52 povero e in cerca di gloria.’” Il Messaggero (Rome), Feb. 29, 2004, p. 25.
Codognato, Mario, and Mirta d’Argenzio. “Interview with Robert Rauschenberg.” In Rauschenberg, pp. 75–100 (in English and Italian). Exh. cat. Ferrara: Galleria d’Arte Moderna e Contemporanea, Palazzo dei Diamanti, 2004.
Solomon, Deborah. “Growing Old, Artfully.” New York Times Magazine, Feb. 15, 2004, p. 13.
Spagnesi, Licia. “Il Leone d’oro? Tutti erano inorriditi. L’unico felice ero io.” Arte (Milan), no. 368 (April 2004), pp. 45–46.
2003
Schmerler, Sarah. “3 Questions for Robert Rauschenberg.” Time Out New York, no. 392 (April 3–10, 2003), p. 6.
Lobel, Michael. “Sign Language.” Artforum (New York) 42, no. 2 (Oct. 2003), p. 131.

Statement in Thyrza Nichols Goodeve. “Genius Envy.” Artforum (New York) 35, no. 3 (Nov. 1996), p. 10.

Turner, Tracy Zollinger. “The Art World’s Most Likeable Genius: Robert Rauschenberg.” Dialogue (Akron, Ohio) 23, no. 4 (July–Aug. 2000), pp. 18–21.

Interview by Gary Garrels, Walter Hopps, David A. Ross, and Peter Samis, San Francisco Museum of Modern Art, May 6, 1999. Transcript, Rauschenberg Research Project, San Francisco Museum of Modern Art. Accessed Feb. 16, 2018.
Brown, Trisha, and Robert Raushenberg. “Freudentänzer.” Vogue Deutsch (Munich) (July 1999), pp. 154–60.

Hüllenkremer, Marie. “Ich hasse den Begriff Pop Art.” Kölner Stadt-Anzeiger (Cologne), June 23, 1998.
Schroeder, Annette. “Kunst des Überlebens.” Kölnische Rundschau (Cologne), June 23, 1998.
Baker, Kenneth. “Rauschenberg’s Reality.” San Francisco Chronicle, Aug. 20, 1998, sec. E, pp. 1, 4.
“Robert Rauschenberg: Künstler zu sein ist ein Handicap.” Art (Hamburg) (Sept. 1998), pp. 16–25.

Müller, Dorothee. “Ich bin ein aktiver Voyeur.” Süddeutsche Zeitung (Munich), March 22–23, 1997, p. 13.
“Liebe lag einfach in der Luft.” Der Spiegel (Hamburg), no. 14/1997 (March 31, 1997), pp. 194–96.
Kaufman, Jason Edward. “Interview: Robert Rauschenberg.” Art Newspaper (London), no. 73 (Sept. 1997), p. 17.
Barber, Lynn. “Robert Rauschenberg.” Observer Life Magazine (London), Oct. 26, 1997, pp. 6–12.
Hirsch, Faye. “Weatherman: Robert Rauschenberg’s Ground Rules Series.” On Paper (New York) 2, no. 2 (Nov.–Dec. 1997), cover and pp. 10–15.

Espanet, Luisa. “Robert Rauschenberg: futuro è il villaggio globale.” Madame Class Figaro (Milan) 2, no. 9 (Sept. 1996), pp. 38–39.
Madra, Beral. “Söyleşi: Beral Madra—Robert Rauschenberg.” Arredamento Dekorasyon (Istanbul), no. 84 (Sept. 1996), pp. 40, 42.
McKenna, Kristine. “Extra Sensory Expression.” Los Angeles Times, Nov. 24, 1996, Calendar, pp. 3, 81.
Turner, Elisa. “Rauschenberg Speaks on Rauschenberg, the Mystery of Boxes, Working with Motion.” Miami Herald, April 28, 1996, sec. I, p. 3.

Turrell, Julia Brown. “Talking to Robert Rauschenberg.” In Rauschenberg Sculpture, pp. 49–83. Exh. cat. Modern Art Museum of Fort Worth, 1995.

“Robert Rauschenberg.” In Mark Rosenthal. Artists at Gemini G.E.L.: Celebrating the Twenty-Fifth Year, pp. 142–58. Exh. cat. Newport Harbor Art Museum, Newport Beach, Calif. New York: Harry N. Abrams in association with Gemini G.E.L., Los Angeles, 1993.

Byrne, David. “Eco-Art.” Self (New York) 14, no. 6 (June 1992), pp. 144–49.
Martins, Marília. “O lixeiro das artes plásticas.” Jornal do Brasil (Rio de Janeiro), June 9, 1992, sec. B, p. 1.

Rauschenberg, Robert, and Donald Saff. “A Conversation about Art and ROCI.” In Rauschenberg Overseas Culture Interchange, pp. 155–79. Exh. cat. Washington, D.C.: National Gallery of Art, 1991.
Maxwell, Douglas. “Rauschenberg.” Art Line (London) 5, no. 4 (March–April 1991), cover and pp. 8–14.
Visconti, Andrea. “Come sono Pop Fidel e il Dalai Lama!” L’Espresso (Rome) 37, nos. 47–48 (Dec. 1, 1991), pp. 154–55, 157.

Daix, Pierre. “Gommer, c’est encore peindre.” (From television broadcast “Désir des arts,” June 3, 1984. Produced by Antenne 2, Paris.) In Robert Rauschenberg, pp. 67–69. Exh. cat. Paris: Le Dernier Terrain Vague and Galerie Fabien Boulakia, 1990.
“Robert Rauschenberg.” (Sept. 13, 1989) In Art Meets Science and Spirituality in a Changing Economy, pp. 38–47. The Hague: SDU Publishers, 1990.
Fishman, Ted C. “The Eyes of Texas.” Newcity (Chicago), Oct. 25, 1990.
Taylor, Paul. “Robert Rauschenberg.” Interview (New York) 20, no. 12 (Dec. 1990), pp. 142–47. Revised and reprinted, Interview 38, no. 6 (Aug. 2008), p. 130.
1989
“Art Is the Way to Mutual Understanding.” Iskusstvo (Moscow) (June 1989), p. 52.

“Rauschenberg Responds: ‘Quarter Mile Project’ Controversy at Met.” Cover (New York) 2, no. 1 (Feb. 1988), p. 7.

“Intervista con Michele Bonuomo.” In Robert Rauschenberg: Neapolitan Glut, unpaginated. Exh. cat. Naples: Lucio Amelio, 1987.
Rose, Barbara. Rauschenberg. English and German editions. New York: Vintage Books; Cologne: Kiepenheuer and Witsch, 1987.
Bashaw, Maureen. “Artist Spills His ‘Gluts.’” Fort Myers News-Press (Fla.), March 26, 1987, sec. D, pp. 1, 9.

Rauschenberg, Robert, and Yoshiaki Tōno. “(Tying work to elephants: about the ROCI project).” In Rauschenberg Overseas Culture Interchange: ROCI JAPAN, pp. 7–11 (in Japanese). Exh. cat. Tokyo: Setagaya Museum of Art, 1986.
Bonesteel, Michael. “Art Press Review [Rauschenberg on Nightline with Ted Koppel, Aug. 9, 1985].” New Art Examiner (Chicago) 13, no. 9 (May 1986), pp. 15–16.

Black, L. D. “Robert Rauschenberg.” Splash (Sarasota, Fla.) (May 1985), cover and pp. 24–28.
Sommer, Waldemar. “Rauschenberg, el gozo creador.” La Prensa (Santiago, Chile), Aug. 23, 1985, sec. B, p. 1.

Tōno, Yoshiaki. “Robert Rauschenberg.” In Chatting with Artists, pp. 155–86 (in Japanese). Tokyo: Iwanami Shoten, 1984.
Shewey, Don. “‘We Collaborated by Postcards’: An Interview with Robert Rauschenberg.” Theatre Crafts (New York) 18, no. 4 (April 1984), pp. 36–38, 72–75. Accessed Sept. 15, 2014.
Eldridge, John. “One Big Painter.” Miami News, May 4, 1984, sec. C, pp. 1, 10.
Huser, France. “L’Homme de Captiva Island.” Le Nouvel Observateur (Paris), no. 1020 (May 25, 1984), pp. 90–91. Reprinted in Robert Rauschenberg, p. 66. Exh. cat. Paris: Le Dernier Terrain Vague and Galerie Fabien Boulakia, 1990.

de Smecchia, Muni. “Robert Rauschenberg.” Vogue Italia (Milan) (Feb. 1983), pp. 402–07.
Raedeke, Paul. “Interview with Rauschenberg.” Photo Metro (San Francisco) 2, no. 13 (Oct. 1983), pp. 16–17.

de Sercey, Arnaud. “Rauschenberg: photographe.” Arts (Paris), no. 62 (April 23, 1982), p. 3.
Artner, Alan G. “Rauschenberg: Collaborating again, then off to See the World.” Chicago Tribune, Nov. 14, 1982, sec. 6, pp. 22–23.
Millet, Catherine, and Myriam Solomon. “Robert Rauschenberg à travers le monde.” Art Press (Paris), no. 65 (Dec. 1982), pp. 4–7.
1981
Statement in Billy Klüver. On Record: Eleven Artists 1963, pp. 40–45. New York: Experiments in Art and Technology, 1981. Transcript of Record of Interviews with Artists Participating in The Popular Image Exhibition, Washington Gallery of Modern Art, Washington, D.C., April 18–June 2, 1963. 33 1/3-rpm phonograph record. Interviews by Henry Geldzahler, recorded and edited by Billy Klüver in collaboration with Washington Gallery of Modern Art.
Sayag, Alain. “Entretien avec R. Rauschenberg à propos de ses photographies.” (Jan. 9, 1981) Translated by Didier Pemerlein. In Rauschenberg Photographe, unpaginated. Exh. cat. Paris: Musée National d’Art Moderne, Centre Georges Pompidou and Éditions Herscher, 1981. Reprinted in Robert Rauschenberg Photographs. New York: Pantheon Books; London: Thames and Hudson, 1981. Reprinted in Robert Rauschenberg fotografia. Exh. cat. Forte di Belvedere, Florence. Florence: Alinari, 1982.
Eliopoulou-Rogan, Dora. “Rauschenberg: The Artist with Infinite Possibilities.” Kathimerini (Athens), Aug. 23–24, 1981, p. 13 (in Greek).
Garrels, Gary. “An Interview with Robert Rauschenberg.” Art New England (Boston) 2, no. 10 (Nov. 1981), p. 3.
Weiss, Marjorie. “Lowcountry Through the Eyes of an Artist.” News and Courier-Evening Post (Charleston, S.C.), Nov. 8, 1981, sec. E, p. 3.

Harmel, Mark. “Rauschenberg.” Sanibel-Captiva Islander (Fla.), April 15, 1980, sec. B, pp. 1–4.

Diamonstein, Barbaralee. “Robert Rauschenberg and Leo Castelli.” In Diamonstein. Inside New York’s Art World, pp. 305–15. New York: Rizzoli, 1979.

Schmerler, Sarah. “3 Questions for Robert Rauschenberg.” Time Out New York, no. 392 (April 3–10, 2003), p. 6.
Lobel, Michael. “Sign Language.” Artforum (New York) 42, no. 2 (Oct. 2003), p. 131.

Scavullo, Francesco. “Robert Rauschenberg.” In Scavullo with Bob Colacello and Séan Byrnes. Scavullo on Men, pp. 156–59. New York: Random House, 1977.
Gruen, John. “Robert Rauschenberg: An Audience of One.” Artnews (New York) 76, no. 2 (Feb. 1977), pp. 44–48. Revised and reprinted as “Robert Rauschenberg.” In Gruen. The Artist Observed: Twenty-Eight Interviews with Contemporary Artists, pp. 260–72. Chicago: Chicago Review Press, 1991.

Chieco, Giuseppe. “Dai Combine paintings ai Jammers.” Le Arti (Milan) 26, no. 3 (March 1976), pp. 47–50.
McKendry, Maxime de la Falaise. “Robert Rauschenberg Talks to Maxime de la Falaise McKendry.” Interview (New York) 6, no. 5 (May 1976), pp. 34, 36.
Ballatore, Sandy. “The Mid-Seventies Rauschenberg: For the Joy of It.” Artweek (Oakland) 7, no. 30 (Sept. 11, 1976), pp. 1, 16.
Forgey, Benjamin. “He’s Pushing Equal Rights for Artists.” Washington Star (Washington, D.C.), Nov. 5, 1976, sec. A, pp. 1, 6.

Jouffroy, Alain. “Robert Rauschenberg: Où en êtes-vous avec le temps?” Zoom (Paris), no. 23 (March–April 1974), pp. 61–67.
Young, Joseph E. “Pages and Fuses: An Extended View of Robert Rauschenberg.” Print Collector’s Newsletter (New York) 5, no. 2 (May–June 1974), pp. 25–30.

Lebeer, Irmeline. “Entretien avec Robert Rauschenberg.” Chroniques de l’art vivant (Paris), no. 43 (Oct. 1973), pp. 15–18.

Parinaud, André. “Un’intervista con Rauschenberg.” Le Arti (Milan) 19, nos. 1–2 (Jan.–Feb. 1969), pp. 25–26.

Kostelanetz, Richard. “A Conversation with Robert Rauschenberg.” Partisan Review (New Brunswick, N.J.) 35, no. 1 (Winter 1968), pp. 92–106. Revised and reprinted as “Robert Rauschenberg.” In Kostelanetz. The Theatre of Mixed Means: An Introduction to Happenings, Kinetic Environments, and Other Mixed-Means Performances, pp. 78–99. New York: Dial Press, 1968.

Fatt, Amelia. “Designers for the Dance, Part III.” Dance Magazine (New York) 41 (April 1967), p. 57.
Amaral, Aracy. “Rauschenberg por nova arte integrada.” O Estado de S. Paulo (São Paulo), Sept. 27, 1967, p. 12.

Seckler, Dorothy Gees. “The Artist Speaks: Robert Rauschenberg.” Photographs by Ugo Mulas. Art in America (New York) 54, no. 3 (May–June 1966), cover and pp. 72–84. Audiotape and transcript of original interview (Dec. 21, 1965) on deposit, Archives of American Art, Smithsonian Institution, Washington, D.C.
Moyano, Maricla. “Pop: Interviews with Artist Robert Rauschenberg, Choreographer Yvonne Rainer and Composer John Cage in Washington Last Month for the NOW Festival.” Washington Post Potomac, June 5, 1966, pp. 26–34.

Tōno, Yoshiaki. “Poppu āto to watashi: Raushenbāgu [Pop art and myself: an interview with Rauschenberg].” Geijutsu shinchō (Tokyo) 16, no. 2 (Feb. 1965), pp. 58–61. In Japanese.
Seckler, Dorothy Gees. Oral history interview with Robert Rauschenberg, Dec. 21, 1965, Archives of American Art, Smithsonian Institution, Washington, D.C.

Jouffroy, Alain, and Robert Rauschenberg. “Barge: Poème sur un tableau de Robert Rauschenberg.” Quadrum (Brussels), no. 15 (1963), pp. 99–106. With quotations from interviews with Rauschenberg by Jouffroy (Jan.–July 1963).

Parinaud, André. “Un ‘Misfit’ de la peinture new-yorkaise se confesse.” Arts (Paris), no. 821 (May 10, 1961), p. 18.

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De la Durantaye, Leland. “Rummaging Through Rauschenberg’s Trash.” Modern Painters (London) 20, no. 6 (July–Aug. 2008), pp. 72–75.
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“BL(U)BROB TRRRCRRAATCHURBUP: Bob Rauschenberg in Swedish Bird Call.” Konsthistorisk tidskrift/Journal of Art History (Stockholm) 76, nos. 1–2 (2007), pp. 6–26.
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Linstrom-Arnold, Barbara. “Artists in Residence: Robert Rauschenberg and Darryl Pottorf.” Times of the Islands (Sanibel, Fla.) 10, no. 2 (March–April 2005), cover and pp. 54–59.
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Dezeuze, Anna. “Unpacking Cornell: Consumption and Play in the Work of Rauschenberg, Warhol and George Brecht.” Papers of Surrealism (University of Manchester, U.K.), no. 2 (Summer 2004)
Genocchio, Benjamin. “Rauschenberg: Autumn of an Art Patriarch.” New York Times, June 27, 2004, sec. CT, p. 8.
Hall, James. “Crime Scenes: Robert Rauschenberg’s Peculiar Interest in the Pre-Raphaelites.” Times Literary Supplement (London), no. 5269 (March 26, 2004), pp. 3–4.
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Perkins, Zoe Annis. “A Chilling Experience: The Treatment of a Robert Rauschenberg ‘Hoarfrost’ Painting.” Textile Specialty Group Postprints (American Institute for Conservation of Historic and Artistic Works, Washington, D.C.) 13 (2003), pp. 95–102.
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“Kachurin, Pamela. “The ROCI Road to Peace: Robert Rauschenberg, Perestroika, and the End of the Cold War.” Journal of Cold War Studies (Cambridge, Mass.) 4, no. 1 (Winter 2002), pp. 27–43.
Morra, Joanne. “Rauschenberg’s Skin: Autobiography, Indexicality, Auto-Eroticism.” New Formations (London), no. 46 (Spring 2002), pp. 48–63.

“‘A Duplication Containing Duplications’: Robert Rauschenberg’s Split Screens.” October (Cambridge, Mass.), no. 95 (Winter 2001), pp. 3–27.
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“Perpetual Inventory.” October (Cambridge, Mass.), no. 88 (Spring 1999), pp. 87–116.
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“National News: Rauschenbirthday.” Artnews (New York) 94, no. 8 (Oct. 1995), p. 52.
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Molesworth, Helen. “Before Bed.” October (Cambridge, Mass.), no. 63 (Winter 1993), pp. 68–82.
Potter, Michelle. “‘A License to Do Anything’: Robert Rauschenberg and the Merce Cunningham Dance Company.” Dance Chronicle (New York) 16, no. 1 (1993), pp. 1–43.
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“Castelli Donates ‘Bed’ to the Modern.” New York Times, May 10, 1989, sec. C, p. 15.
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Feinstein, Roni. “The Unknown Early Robert Rauschenberg: The Betty Parsons Exhibition of 1951.” Arts Magazine (New York) 59, no. 5 (Jan. 1985), pp. 126–31.
Gamarekian, Barbara. “Rauschenberg Carrying His Art to Many Lands.” New York Times, Aug. 3, 1985, p. 9.
Huisking, Charlie. “Artist’s Canvas Stretches around the World.” Sarasota Herald-Tribune (Fla.), March 17, 1985, sec. C, pp. 1, 13.
Moorman, Margaret. “The ‘Vasari’ Diary: Rocky Road to Peace and Understanding.” Artnews (New York) 85, no. 2 (Feb. 1985), p. 11.

Krasnow, Iris. “Rauschenberg.” Houston Post, Dec. 16, 1984, sec. F, p. 9.

Burkhardt, Dorothy. “An Artist Defying Tradition.” Philadelphia Inquirer, Dec. 25, 1983, sec. K, p. 15.
Herrera, Hayden. “Rauschenberg’s Scroll.” Connoisseur (New York) 213, no. 851 (Jan. 1983), pp. 57–61.
Kotz, Mary Lynn. “Robert Rauschenberg’s State of the Universe Message.” Artnews (New York) 82, no. 2 (Feb. 1983), cover and pp. 54–61.
Perreault, John. “Rauschenberg: The World Is His Studio.” Photographs by Robert Mapplethorpe. Geo (Los Angeles) 5, no. 11 (Nov. 1983), pp. 64–71, 98.
Rowes, Barbara. “Painter Robert Rauschenberg Takes a Trip to China and Pops Back with New Shows and New Vitality.” People (New York) 19, no. 3 (Jan. 24, 1983), pp. 82–83.
Smith, Graham. “Robert Rauschenberg’s ‘Odalisque.’” Wallraf-Richartz-Jahrbuch (Cologne) 44 (1983), pp. 375–82.
Wivel, Mikael. “Stol på mig.” Berlingske Aften (Copenhagen), Feb. 4–10, 1983, sec. 2, p. 13.

Bendiner, Kenneth. “Robert Rauschenberg’s Canyon.” Arts Magazine (New York) 56, no. 10 (June 1982), pp. 57–59.
Rohter, Larry. “A Brush with the Master.” Newsweek (New York) 100, no. 5 (Aug. 2, 1982), p. 40.
Ives, Colta. “Looking at Prints: Razorback Country.” Artnews (New York) 81, no. 7 (Sept. 1982), pp. 62–63.

Cranshaw, Roger, and Adrian Lewis. “Re-Reading Rauschenberg.” Artscribe (London), no. 29 (June 1981), pp. 44–51.
Evaul, William H. “Printmaking Ensuite with Rauschenberg, Rockburne, and LeWitt.” Print Review (New York), no. 14 (1981), pp. 70–73.
Grundberg, Andy. “Another Side of Rauschenberg.” New York Times Magazine, Oct. 18, 1981, pp. 42–46, 113, 114, 117. Holborn, Mark. “Robert Rauschenberg: Photographs.” Creative Camera (London), no. 203 (Nov. 1981), pp. 288–91. Newman, Michael. “Rauschenberg Re-evaluated.” Art Monthly (London), no. 47 (June 1981), pp. 7–10. Shaw, John. “Robert Rauschenberg and the Profit Motif.” Antique Collector (London) 52, no. 11 (Nov. 1981), p. 96.

Burstein, Patricia. “In His Art and Life, Robert Rauschenberg Is a Man Who Steers His Own Daring Course.” People (New York) 13, no. 20 (May 19, 1980), pp. 99–100, 103–04.
Dorsey, John. “Rauschenberg’s ‘Bank Job’: ‘A Different Puzzle for Each Person.’” Baltimore Sun, Feb. 24, 1980, sec. D, pp. 1, 8.
Rosenblatt, Leon. “Robert Rauschenberg in Captiva.” Printable News (Detroit Institute of Arts) (Dec. 1980), pp. 2–8.
Sharp, Ellen. “From Cliché-Verre Image to Printed Edition.” Printable News (Detroit Institute of Arts) (Dec. 1980), pp. 9–10.

Goldstein, Carl. “Teaching Modernism: What Albers Learned in the Bauhaus and Taught to Rauschenberg, Noland, and Hesse.” Arts Magazine (New York) 54, no. 4 (Dec. 1979), pp. 108–16.
Harmel, Pat. “On December 30, 1979 Robert Rauschenberg Will Welcome in the 80’s with the Largest Limited Edition Art Work in History.” Islander (Sanibel, Fla.), Dec. 25, 1979, pp. 13–15.
The Man Who Created the Most Public Work of Private Art in History.” With print by Rauschenberg, Cover for Tropic (1979), edition of 650,000. Tropic (Miami Herald), Dec. 30, 1979, pp. 20–22.
Towle, Tony. “Rauschenberg: Two Collaborations—Robbe-Grillet and Voznesensky.” Print Collector’s Newsletter (New York) 10, no. 2 (May–June 1979), pp. 37–41.

Bernstein, Roberta. “Robert Rauschenberg’s Rebus.” Arts Magazine (New York) 52, no. 5 (Jan. 1978), pp. 138–41.
Moore, Frazier. “Captiva’s Artist, and the World’s … Rauschenberg.” Fort Myers News-Press (Fla.), March 19, 1978, sec. E, pp. 1–3. Revised and reprinted as “Rauschenberg of Captiva: An Impish Spirit, a Great Artist.” Floridian (St. Petersburg Times), Oct. 8, 1978, cover and pp. 6–12.
Wallach, Amei. “The ‘Vasari’ Diary: More Dangerous than Generals [Andrei Voznesensky collaboration].” Artnews (New York) 77, no. 2 (Feb. 1978), pp. 22, 24.

Asbury, Edith Evans. “Artists’ ‘Bank’ to Aid Health Costs.” New York Times, Oct. 2, 1977, p. 48.
Olson, Roberta J. M. “Rauschenberg, the Extraordinary Ragpicker.” SoHo Weekly News (New York), March 31, 1977, pp. 17–19, 23.
Perrone, Jeff. “Robert Rauschenberg.” Artforum (New York) 15, no. 6 (Feb. 1977), cover and pp. 24–31.
“Rauschenberg: The Artist as Witness.” Vogue (New York) 167, no. 2 (Feb. 1977), pp. 174–75, 220, 226.
“Robert Rauschenberg: An Audience of One.” Artnews (New York) 76, no. 2 (Feb. 1977), pp. 44–48. Revised and reprinted as “Robert Rauschenberg.” In The Artist Observed: Twenty-Eight Interviews with Contemporary Artists, pp. 261–72. Chicago: Chicago Review Press, 1991.
Roth, Moira. “The Aesthetic of Indifference.” Artforum (New York) 16, no. 3 (Nov. 1977), pp. 46–53.
Smith, Philip. “To and about Robert Rauschenberg.” Arts Magazine (New York) 51, no. 7 (March 1977), pp. 120–21.
Stuckey, Charles F. “Reading Rauschenberg.” Art in America (New York) 65, no. 2 (March–April 1977), cover and pp. 74–84.
“The Talk of the Town: Rauschenberg.” New Yorker 53, no. 14 (May 23, 1977), pp. 30–31.

“Artist of Everything.” Newsweek (New York) 88, no. 17 (Oct. 25, 1976), pp. 94–99.
Ginsburg, Susan. “Rauschenberg’s Dialogue.” Print Collector’s Newsletter (New York) 6, no. 6 (Jan.–Feb. 1976), pp. 152–55.
“The Most Living Artist.” Time (New York) 108, no. 22 (Nov. 29, 1976), cover and pp. 54–62.

Abadie, Daniel. “Les Images ‘gelées’ de Rauschenberg.” Art Press (Paris), no. 19 (July–Aug. 1975), pp. 16–17.
Goldman, Judith. “New Editions: Robert Rauschenberg.” Artnews (New York) 74, no. 3 (March 1975), pp. 59–60.
Hughes, Robert. “Enfant Terrible at 50.” Time (New York) 105, no. 4 (Jan. 27, 1975), pp. 60–61.
Lieberman, William S. “Rauschenberg’s Inferno Drawings.” MoMA (New York), no. 6 (Winter 1975–76), unpaginated.
Perocco, Guido. “Rauschenberg.” Le Arti (Milan), nos. 8–9 (Sept.–Oct. 1975), pp. 21–22.
Wortz, Melinda. “Rauschenberg’s Bones and Unions.” Artweek (Oakland) 6, no. 35 (Oct. 18, 1975), p. 2.

Alliata, Vicky. “Rauschenberg: I fossili della civiltà atomica.” Bolaffiarte (Turin) 5, no. 42 (Summer 1974), pp. 82–89.
Hess, Thomas B. “Rauschenberg: Choose a Chance.” New York 7, no. 35 (Sept. 9, 1974), pp. 60–61.
Krauss, Rosalind. “Rauschenberg and the Materialized Image.” Artforum (New York) 13, no. 4 (Dec. 1974), pp. 36–43.
Naggar, Carole. “Robert Rauschenberg.” Zoom (Paris), no. 23 (March–April 1974), p. 60.
Nemy, Enid. “Artists’ Families Needing Aid Get It from Rauschenberg’s Group.” New York Times, Sept. 25, 1974, p. 46.
Pindell, Howardena. “Robert Rauschenberg’s ‘Link.’” MoMA (New York), no. 1 (Autumn 1974), unpaginated.
Sharp, Christopher. “The Artist as Alchemist: From Garbage to Gold.” Women’s Wear Daily (New York), Sept. 30, 1974, p. 28.
Young, Joseph. “New Editions: Robert Rauschenberg [Horsefeathers Thirteen].” Artnews (New York) 73, no. 3 (March 1974), pp. 48–49.
“Zap! Robert Rauschenberg as Art World Superman.” Sarasota Journal (Fla.), Oct. 22, 1974, sec. A, p. 12.

Corbino, Marcia. “Robert Rauschenberg, Painter in Hiding.” Floridian (St. Petersburg Times), March 11, 1973, pp. 29–31.
Gratz, Roberta B. “Artist’s a Study in Blue at Scull’s SRO Auction.” New York Post, Oct. 19, 1973, pp. 3, 16
“Rauschenberg et la liberté d’indifférence.” XXe siècle (Paris) 35, no. 40 (June 1973), pp. 125–31.
O’Doherty, Brian. “Rauschenberg and the Vernacular Glance.” Art in America (New York) 61, no. 5 (Sept.–Oct. 1973), pp. 82–87. Revised and reprinted as “Robert Rauschenberg: The Sixties.” In O’Doherty. American Masters: The Voice and the Myth, pp. 188–225. New York: Random House, 1973.
Padawer, Martha. “Rauschenberg Criticism, 1950–1970: A Selected Annotated Bibliography.” Bulletin of Bibliography and Magazine Notes (Boston) 30, no. 2 (April–June 1973), pp. 61–68.

Feature article on Rauschenberg. Bijutsu Techo (Tokyo) 22, no. 326 (April 1970), pp. 68–96 (in Japanese).
Karshan, Donald H. “Graphics ’70: Robert Rauschenberg.” Art in America (New York) 58, no. 6 (Nov.–Dec. 1970), pp. 48–51. With offset lithograph by Rauschenberg, Wart (1970), edition of 65,000.
“Rauschenberg’s Graphics.” Art and Artists (London) 5, no. 6 (Sept. 1970), pp. 18–21.
O’Rorke, Robert. “Stella and . . . Rauschenberg.” Art and Artists (London) 5, no. 6 (Sept. 1970), pp. 10, 12.

Carroll, Maurice. “Fire Damages Rauschenberg Art Here.” New York Times, Oct. 26, 1969, sec. 1, p. 79.
Pierre, José. “Le ‘Cas’ Rauschenberg.” L’Oeil (Paris), no. 172 (April 1969), cover and pp. 42–50.
“Rauschenberg’s Recent Graphics.” Art in America (New York) 57, no. 4 (July–Aug. 1969), pp. 90–95.
“Robert Rauschenberg: Painting in Four Dimensions.” In Kostelanetz. Master Minds: Portraits of Contemporary American Artists and Intellectuals, pp. 251–69. Toronto: Macmillan, 1969.

Bongard, Willi. “When Rauschenberg Won the Biennale.” Studio International (London) 175, no. 901 (June 1968), pp. 288–89.
Calas, Nicolas. “Robert Rauschenberg.” Kulchur (New York) 4, no. 15 (Autumn 1964), cover and pp. 16–40. Reprinted as “Artists: Robert Rauschenberg.” In Calas. Art in the Age of Risk and Other Essays, pp. 169–93. New York: E. P. Dutton, 1968.
Forge, Andrew. “Cross Currents.” Studio International (London) 175, no. 899 (April 1968), p. 187–91.
Fujieda, Teruo; Atsushi Miyakawa; and Yoshiaki Tōno. Three feature articles on Rauschenberg. Bijutsu Techo (Tokyo) (Feb. 1968), pp. 44–67 (in Japanese).
Mussman, Toby. “A Comment on Literalness: Should the Picture Plane Be Abolished?” Arts Magazine (New York) 42, no. 4 (Feb. 1968), pp. 14–17.
Shepard, Richard F. “‘Venice Biennale’ Weds Local No. 1: Rauschenberg Will Assist Lithographers’ Art Plan.” New York Times, Feb. 16, 1968, p. 34.

Boatto, Alberto. “Rauschenberg: La celebrazione del presente.” In Pop Art in U.S.A., pp. 24–27 (in Italian). Milan: Lerici, 1967.
C., W. C. “Art and Technology Join in Formal Experiment.” Data Systems News (New York), no. 1 (Nov. 1967), p. 3.
Lieberman, Henry R. “Art and Science Proclaim Alliance in Avant-Garde Loft.” New York Times, Oct. 11, 1967, p. 49.
Lippard, Lucy R. “The Silent Art.” Art in America (New York) 55, no. 1 (Jan.–Feb. 1967), pp. 58–63.
O’Connor, John J. “Art and Technology Make It Official.” Wall Street Journal (New York), Oct. 11, 1967, p. 16.
“Theater and Engineering: An Experiment, 2. Notes by an Engineer.” Artforum (Los Angeles) 5, no. 6 (Feb. 1967), pp. 31–33.
Whitman, Simone. “Theater and Engineering: An Experiment, 1. Notes by a Participant.” Artforum (Los Angeles) 5, no. 6 (Feb. 1967), pp. 26–30.

Davis, Douglas M. “The Enigmatic Mr. Rauschenberg: He Keeps American Art Adventurous.” National Observer (Washington, D.C.), Oct. 10, 1966, pp. 1, 17.
Gruen, John. “Painter Dancing in the Dark.” Sunday Herald Tribune Magazine (New York), Jan. 2, 1966, pp. 22, 34.
Johnson, Ellen H. “The Image Duplicators: Lichtenstein, Rauschenberg and Warhol.” Canadian Art (Toronto) 23, no. 1 (Jan. 1966)
Klüver, Billy. “Teknologi för livet.” Konstrevy (Stockholm) 42, no. 2 (1966), pp. 56–61.
Kostelanetz, Richard. “The Artist as Playwright and Engineer.” New York Times Magazine, Oct. 9, 1966
Robbins, Eugenia S. “Performing Art.” Art in America (New York) 54, no. 4 (July–Aug. 1966)
Seckler, Dorothy Gees. “The Artist Speaks: Robert Rauschenberg.” Photographs by Ugo Mulas. Art in America (New York) 54, no. 3 (May–June 1966

Glueck, Grace. “Art Notes: Adventures Abroad.” New York Times, June 6, 1965, sec. 2, p. 15.
Kappler, Frank. “Dante: The Divine Poet’s Totality.” Life (New York) 59, no. 25 (Dec. 17, 1965)
Lerman, Leo. “The New Old Masters.” Photographs by Duane Michals. Mademoiselle (New York) 60, no. 4 (Feb. 1965)
Macorini, Edgardo. “Le Illustrazione di Rauschenberg per l’Inferno di Dante.” Domus (Milan), no. 431 (Oct. 1965)
Mangravite, Peppino G. “Dante Through Three Artists’ Eyes.” Columbia Library Columns (New York) 15, no. 1 (Nov. 1965)
Ohff, Heinz. “Broadway—zwischen Realismus und Utopie.” Der Tagesspiegel (Berlin), Aug. 26, 1965.
Ragon, Michel. “Rauschenberg: La vedette de l’École de New York.” Arts (Paris), no. 1011 (June 23–July 6, 1965)
Solomon, Alan [R.]. “Is There a New Theater?” New York Times, June 27, 1965
“The World Is a Painting: Rauschenberg.” Vogue (New York) 146, no. 7 (Oct. 15, 1965).

Calas, Nicolas. “Robert Rauschenberg.” Kulchur (New York) 4, no. 15 (Autumn 1964
Constable, Rosalind. “Art Pops In: Europe Explodes as American Takes Prize.” Life (New York) 57, no. 2 (July 10, 1964)
Johnson, Philip. “Young Artists at the Fair and at Lincoln Center.” Art in America (New York) 52, no. 4 (Aug. 1964)
“Most Happy Fella.” Time (New York) 84, no. 12 (Sept. 18, 1964)
“R. Rauschenberg.” L’Oeil (Paris), no. 113 (May 1964)
Tomkins, Calvin. “Profiles: Moving Out.” New Yorker 40, no. 2 (Feb. 29, 1964)
Tucker, Jean. “Master of Pop Art School Applying His ‘Touch’ to Dance Program Design.” Hartford Courant (Conn.), March 20, 1964,

Dypréau, Jean. “Rauschenberg.” XXe siècle (Paris) 25, no. 21 (May 1963), p. 145.
“Rauschenberg’s ‘Combine-Statement.’” SAC Journal (Tokyo), no. 34 (Dec. 1963), unpaginated (in Japanese).
Rose, Barbara. “Dada Then and Now.” Art International (Zurich) 7, no. 1 (Jan. 25, 1963)
Swenson, G. R. “Rauschenberg Paints a Picture.” Artnews (New York) 62, no. 2 (April 1963)
“The Collaboration Wheel: A Comment on Robert Rauschenberg’s Comment on Dante.” Arts and Architecture (Los Angeles) 80, no. 12 (Dec. 1963).

Alloway, Lawrence. “Assembling a World Between Art and Life.” Second Coming Magazine (New York) 1, no. 4 (June 1962), pp. 50–52.
Jouffroy, Alain. “Rauschenberg ou le déclic mental.” Aujourd’hui (Paris), no. 38 (Sept. 1962)
Tōno, Yoshiaki. “Rauschenberg.” Mizue (Tokyo), no. 683 (Feb. 1962), pp. 42–56 (in Japanese).

Ashton, Dore. “Plus ça change . . . ” Cimaise (Paris) 8, no. 1 (March–April 1961), pp. 50–59 (in English, French, German, and Spanish).
Cage, John. “On Robert Rauschenberg, Artist, and His Work.” Metro (Milan), no. 2 (1961), pp. 36–51.
Choay, Françoise. “Dada, Néo-Dada, et Rauschenberg.” Art International (Zurich) 5, no. 8 (Oct. 20, 1961), cover and pp. 82–84, 88.
Dorfles, Gillo. “Rauschenberg, o la sconfitta dell’‘obsolescence’/Rauschenberg, or Obsolescence Defeated.” Metro (Milan), no. 2 (1961), pp. 32–35 (in English and Italian).
Fahlström, Öyvind. “En gata full av presenter.” Konstrevy (Stockholm) 37, nos. 5–6 (1961), pp. 176–81
“Portfolio, Dante’s Inferno: Drawings by Robert Rauschenberg.” Second Coming Magazine (New York) 1, no. 2 (July 1961), pp. 17–21.
“Thirty-Four Illustrations for Dante’s Inferno.” Metro (Milan), no. 2 (1961), pp. 52–61 (in English, French, and Italian)

Brach, Paul. “Rauschenberg.” Scrap (New York), no. 2 (Dec. 23, 1960), p. 3.
Key, Donald. “Leader of the ‘Pop Bottle’ School.” Milwaukee Journal, May 29, 1960.

Cato, Robert. “Sources of Inspiration: Robert Rauschenberg.” Print (New York) 11, no. 1 (Feb.–March 1957), p. 27.

Peters, Ben. “Rauschenberg: Blueprint Photographer.” Photo Arts (Stamford, Conn) 2, no. 4 (Aug. 1952), pp. 216–21.

“Speaking of Pictures: Blueprint Paper, Sun Lamp, a Nude Produce Some Vaporous Fantasies.” Life (New York) 30, no. 15 (April 9, 1951), pp. 22–24.

Discovering the Rauschenberg Legacy. Web video, 5 minutes, 45 seconds. Interview, filmed, and edited by Dion Tan. Produced by BlouinArtInfo.com. Uploaded Dec. 5, 2014.

“Conservation Video Relating to Robert Rauschenberg’s Untitled [glossy black painting] (ca. 1951), 2012.” Videotape, 4 minutes, 20 seconds. Videotape edited by Richard Robertson. Produced by San Francisco Museum of Art..
“Out of the Darkness (1939–66),” Great Artists in Their Own Words, episode 2 of 3, May 21. Television broadcast, 60 minutes. Directed and produced by Lulu Valentine. Executive Producer Julian Birkett. Narrated by Rebecca Front. Produced by BBC Television, London.

Documenta 4,” Archives. DVD, 54 minutes. Directed by Jef Cornelis. Edited by Yves Aupetitallot, with text by Aupetitallot. Published with Le Magasin, Grenoble, and Argos, Brussels. Includes a 24-page booklet. Features artworks from Documenta 4, Kassel (1968), including by Rauschenberg.

“The Culture Show at the Edinburgh Festival: Part 1,” The Culture Show, episode 6 of 28, Aug. 11. Television broadcast, 60 minutes. Series produced by Pauline Law. Series edited by Janet Lee. Presented by Alastair Sooke. Produced by BBC Two, London.

Merce Cunningham Dance Company: Robert Rauschenberg Collaborations. Three-disc DVD collection. Suite for Five (1957), 25 minutes, 58 seconds; Summerspace (1958), 22 minutes, 5 seconds; Interscape (2000), 47 minutes, 5 seconds. Three films by Charles Atlas. Edited by Fredericka Hunter and Ian Glennie. Project Coordinator and design by Molly Cumming. Produced by Merce Cunningham Dance Foundation, New York, and ARTPIX, Houston.
“Time-Lapse Video of Robert Rauschenberg’s White Painting [three panel], SFMOMA.” Videotape, 2 minutes, 42 seconds. Directed by Henrik Kahm. Record of visitors interacting with Robert Rauschenberg's White Painting (1951) in a one-week period during 75 Years of Looking Forward: The Anniversary Show, San Francisco Museum of Modern Art (July 1, 2010–Jan. 16, 2011). Uploaded July 2013

Trisha Brown Dance Company. DVD, 94 minutes total (21 minutes performance runtime). Includes a performance of Glacial Decoy (1979), choreographed by Brown. Performed by Trisha Brown Dance Company, set and costumes by Rauschenberg, lighting by Beverly Emmons and Rauschenberg, Brooklyn Academy of Music, Howard Gilman Opera House, May 2. Program note: “BAM and Trisha Brown Dance Company dedicate these performances to the memory of a great artist and dear friend, Robert Rauschenberg (1925–2008).”

“Robert Rauschenberg’s White Paintings.” Audio file, Podcast. 2 minutes, 19 seconds. Produced by San Francisco Museum of Art. Part of audio guide to The Art of Participation: 1950 to Now (Nov. 8–Feb. 8). Stop 404: Rauschenberg discusses his White Painting series and John Cage explains how the paintings gave him courage to create a "silent" musical work. Uploaded Nov. 2008. Accessed Oct. 3, 2014.
Robert Rauschenberg “Ich muss unsichtbar warden,” May 18. Television broadcast, 50 minutes. Film by Peter K. Wehrli. Produced by Telepool, Zurich, Broadcast by SRF 1, Switzerland.
Sunday Feature, “Soundings with the artist Robert Rauschenberg,” June 1. Radio broadcast, 45 minutes. Produced by BBC Radio 3, U.K. Interview with Rauschenberg by Tim Marlow.
The Mona Lisa Curse, Sept. 21. Television documentary, 75 minutes. Film by Robert Hughes. Directed by Mandy Chang. Produced by Nick Kent. Produced by Oxford Film and TV, Channel 4, Belfast. Released on DVD (2009).

Fully Awake: Black Mountain College. Documentary film, 60 minutes. Produced by Cathryn Davis Zommer and Neeley House.
Open Score. DVD, 33 minutes, 42 seconds. Videotape documentary, videotape footage transferred from 16 mm black-and-white and 33 mm color film, edited to produce a reconstruction of the performance, with a second section of transferred videotape footage and additional original videotape footage edited for the documentary section of the film. Open Score (1966) by Rauschenberg. Executive Producers Billy Klüver and Julie Martin. Directed by Barbro Schultz Lundestam. Edited by Ken Weissman. Titles by Rauschenberg. Produced by Experiments in Art and Technology (E.A.T.), New York, and released on 1-inch videotape and VHS (1997). Copublished (released) by E.A.T and ARTPIX, Houston on DVD (2007). Performed by Simone (Whitman) Forti, Mimi Kanarek, Christopher Rauschenberg, Robert Rauschenberg, Frank Stella, Christine Williams, and around 500 volunteers, 9 Evenings: Theatre & Engineering, 69th Regiment Armory, New York, Oct. 14 and 23, 1966.

Perspectives/MOCA Exhibitions 2006. Two disc CD-ROM. Compilation of audio recordings from the lecture series, Museum of Contemporary Art, Los Angeles.
“Robert Rauschenberg and Calvin Tomkins: A Conversation about Art and Life.” Videotape, 66 minutes, 41 seconds. Moderated by Nan Rosenthal, Grace Rainey Rogers Auditorium, Metropolitan Museum of Art, New York, Feb. 5. In conjunction with Robert Rauschenberg: Combines (Dec. 20, 2005–April 2, 2006). Edited version © 2013, Metropolitan Museum of Art
Scenario MinEvent, Crises and eyeSpace. Disc 1. DVD, 78 minutes total (22 minutes performance runtime for Crises, 1960). Crises choreographed by Merce Cunningham. Costumes by Rauschenberg, Joyce Theater, New York, Oct. 12.
Who Gets to Call It Art? DVD, 78 minutes total. Produced and directed by Peter Rosen. © Muse Film and Television, New York, and Peter Rosen Productions, Inc., New York. Documentary film. Metropolitan Museum of Art curator Henry Geldzahler reflects on the 1960s pop art scene in New York.

Imagining America: Icons of Twentieth-Century American Art. DVD, 120 minutes. Adapted from television broadcasts, Dec. 28. Created by John Carlin, Jonathan Fineberg, and Hart Perry. Produced by Perry Films and MUSE Film and Television in Association with Funny Garbage and Public Media for broadcast on public television through South Carolina Educational Television.
Larry Mantle’s Air Talk, May 23. Radio broadcast, 60 minutes. Pasadena, Calif. Larry Mantle and curator Paul Schimmel in conversation about Robert Rauschenberg: Combines, Museum of Contemporary Art, Los Angeles (May 21–Sept. 4, 2006).
“Rauschenberg in Lafayette,” Louisiana: The State We’re In, Aug. 12. Television broadcast, 30 minutes. Produced by Donna LaFleur. Filmed by Charles Bush and LaFleur. Produced by Louisiana Educational Television Authority. Interview with Robin Ackins, Joe Jarrell, LaFleur, Darryl Pottorf, and Christopher Rauschenberg.
Good Morning Texas, Nov. 18. Television broadcast, 60 minutes. Produced by ABC Television, New York for WFAA-TV, Dallas. Host Jackie Hyland. Interview with Mary Lynn Kotz.

“The Art of Performance / Story (1964),” SCAN Art Series No. 1. Japanese version. Film, color and black and white, DVD, 55 minutes. Produced by PROCESSART, Inc., and BIOTIDE. Directed by Koichi Tabata and Koji Kojima. © Solomon R. Guggenheim Museum, New York, and Merce Cunningham Dance Foundation, New York. Includes interviews with Rauschenberg, Trisha Brown, Cunningham, Viola Farber, Steve Paxton, and Yvonne Rainer, as well as footage of Cunningham’s Story (1964), produced by Finnish Broadcasting Company, Helsinki, set and costumes by Rauschenberg. Filmed during the company’s world tour in 1964.
“Profile: Robert Rauschenberg; Artist Robert Rauschenberg Still Working at Age 78,” CBS Sunday Morning, Aug. 8. Television broadcast, 90 minutes. Produced by CBS Television. Rauschenberg appears in a television interview with Morley Safer.

Art Car-BMW news coverage. CNN New York, Jan. 24. Television broadcast, 2 minutes, 14 seconds. Produced by CNN, New York. The Early Show. Jan 24. Television broadcast, 2 minutes. Produced by CBS News, New York. Fox News 4 at 10, Jan 24. Television broadcast, 1 minute. Produced by FOX News. NBC 2 News at 4, Jan 24. Television broadcast, 8 minutes. Produced by NBC.

Interscape. DVD, 47 minutes total. Film by Charles Atlas. Interscape (2000) choreographed by Merce Cunningham. Performed by Merce Cunningham Dance Company, set and costumes by Rauschenberg, Mulhouse, France, Nov.
“Robert Rauschenberg and Dave Hickey.” Part 1 and 2. Recorded March 18, Omni Los Angeles Hotel, as part of The Ralph Tornberg / Museum Director’s 2000/1 series of Dialogues in Contemporary Art, Museum of Contemporary Art, Los Angeles. Uploaded April 10, 2006.

Ennis’s Gift: A Film About Learning Differences. ½-inch videotape, 52 minutes. Produced and directed by Joshua Seftel. Coproduced and written by Tom Miller. Edited by William A. Anderson. Hosted by Ed Bradley. Includes an appearance by Rauschenberg.
“Merce Cunningham: A Lifetime of Dance,” American Masters, Jan. 1 [broadcast date unconfirmed]. Television broadcast. Produced by Winstar TV and Video, New York. Broadcast by PBS Network.
“Robert Rauschenberg at the Whitney Museum of American Art,” CNN Headline News 2nd Watch, June 28. Television broadcast, 30 minutes. Produced by CNN, New York. Features footage of Rauschenberg at the Whitney Museum of American Art, New York, with narrative contributions from curator Marla Prather, choreographer Merce Cunningham, and AMFAR founder Matilda Krim.
“Robert Rauschenberg Synapsis Shuffle,” NBC News Today, Sept. 4. Television broadcast, 9-minute segment. Produced by NBC, New York. Hosted by Matt Lauer. Rauschenberg speaks about his exhibition at the Whitney Museum of American Art, New York.
“Cars at Christie’s Auction,” Art Club, Oct. 15. Television broadcast, 30 minutes. Produced by CNN International. CNN anchor Katy Haswell talks with Ruper Banner of Christie’s and designer Sir Terence Conran about the cars being prepared for the upcoming Christie’s auction, with footage of Rauschenberg working on a BMW vehicle.

“Video interview by David A. Ross, Walter Hopps, Gary Garrels, and Peter Samis.” Video, web publication. Recorded May 6. Produced by San Francisco Museum of Modern Art. Unpublished transcript at the SFMOMA Research Library and Archives. Video excerpts published on the SFMOMA website, “Robert Rauschenberg Case Study,” Making Sense of Modern Art. Uploaded Oct. 2000. Accessed October 3, 2014
“Robert Rauschenberg: Inventive Genius,” American Masters, April 7. Television broadcast, 60 minutes. Coproduced by WNET/13, New York for PBS Network and Film Odyssey, Washington, D.C. Produced, written, and directed by Karen Thomas. Narrated by Dennis Hopper. Executive Producer Susan Lacy. Edited by Adam Lingo.

Fuji TV interview. Rough cut. Video, 30 minutes, 34 seconds. Rauschenberg interview in Captiva, Fla. Produced by Fuji TV, Japan / Japan Art Association.
“Close/Rauschenberg,” Charlie Rose, episode 8040, Feb. 27–28. Television broadcast, 60 minutes. Produced by PBS Network. Includes a screening of a conversation that took place in fall 1997, Peter B. Lewis Theater, Solomon R. Guggenheim Museum, New York, and an interview with Rauschenberg and Rose.

Footage of installation of Monogram (1955–59) in Robert Rauschenberg: A Retrospective, Solomon R. Guggenheim Museum, New York (Sept. 19, 1997–Jan. 7, 1998). Video, 3 minutes, 59 seconds. Produced by Ovation, Santa Monica. Rauschenberg and Calvin Tomkins speak about the history and significance of the artist’s Combines.
Performance compilation film produced by Solomon R. Guggenheim Museum, New York, for Robert Rauschenberg: A Retrospective (Sept. 19–Jan. 7, 1998), 16 mm film, black and white, 47 minutes.
Robert Rauschenberg: The Art of Performance. VHS, 43 minutes. Directed by Ultan Guilfoyle. Produced by Allison Lane. Edited by Sara Andrew. Published by Solomon R. Guggenheim Museum, New York, for Guggenheim Museum Bilbao
Robert Rauschenberg, Man at Work. ½-inch videotape, 57 minutes. Directed by Chris Granlund. Produced by Alison Grist and Andrea Miller. Narrated by Sean Barrett. Series Editor Michael Poole. Coproduced by BBC/RM Arts with Solomon R. Guggenheim Museum, New York, and Ovation, Santa Monica. Includes interviews with Rauschenberg and Calvin Tomkins

Emile de Antonio’s Painters Painting. CD-ROM adapted and expanded from the 1972 film Painters Painting. By Ron Mann. Written and edited by Douglas Kellner. Designed and produced by Peter Girardi. Published by the Voyager Company, New York. Includes discussions of Rauschenberg’s work by the artist and Leo Castelli, and transcript of interview with Rauschenberg by de Antonio.
Kisses Sweeter Than Wine. Videotaped documentary, 71 minutes. Transferred to videotape from 16 mm black-and-white film and 35 mm color film to produce a reconstruction of the performance with a second section of transferred videotape footage and original videotape footage edited for the documentary section of the film. Kisses Sweeter Than Wine (1966) by Öyvind Fahlström. Executive Producers Billy Klüver and Julie Martin. Directed by Barbro Schultz Lundestam. Edited by Ken Weissman. Produced by Billy Klüver for Experiments in Art and Technology (E.A.T.), New York. Titles by Rauschenberg. Not officially released. Rauschenberg participated as a performer, among others, 9 Evenings: Theatre & Engineering, New York, Oct. 21, 22, 1966.
“The Empire of Signs,” American Visions, part 7 of 8, Dec. 22. Television broadcast, 60 minutes. Written by Robert Hughes. Executive Producer Nicholas Rossiter. Coproduction of Time Inc., New York and the BBC Television, London in association with WNET/13, New York. Includes interview with Rauschenberg and archival footage of the artist working on Barge (1962–63).

If you couldn’t see me, and M.O. 1⁄2-inch videotape, 68 minutes total (12 minutes performance runtime). If you couldn’t see me (1994) choreographed by Brown. Performed by Trisha Brown Dance Company, music and costumes by Rauschenberg, Ted Shawn Theater, Jacob’s Pillow, Becket, Mass., Aug. 1.
“Another Way,” CBS Sunday Morning, Sept. 17. Television broadcast, 6–8 minute segment. Produced by CBS News, New York. Includes a tour of the Lab School, Washington, D.C., and interview with Rauschenberg.

Event no. 3: At the Joyce. DVD, four ¾-inch videotapes transferred to streaming video, 102 minutes. Events choreographed by Merce Cunningham. Performed by Merce Cunningham Dance Company, set by Rauschenberg, Joyce Theater, New York, Sept. 13.

Black Mountain College and Merce Cunningham in the Fifties: New Perspectives. 1⁄2-inch videotape, 89 minutes. Series of eight videotapes. Documents a symposium held at Russell Sage College, Troy, N.Y., on Oct. 9–10. Moderated by Marcia B. Siegel. Includes lecture by Natelie Ellen Gerber about collaborations between Cunningham, Jasper Johns, and Rauschenberg.
“Saff Tech Arts: Oxford, Maryland,” CBS Sunday Morning with Charles Kuralt, Jan. 31. Television broadcast, 9 minutes. Produced by CBS News, New York. Includes appearance by Rauschenberg.
“The Individual and Tradition,” Dancing 7, May 24. Television broadcast, color and black and white, 56 minutes. Created, written, and executive produced by Rhoda Grauer. Directed and produced by Ellen Hovde and Muffie Meyer for Middlemarch Films, New York. Narrated and hosted by Raoul Trujillo. Produced by WNET/13, New York, in association with RM Arts, Munich and BBC Television, London. Includes excerpts of performances of Rauschenberg’s Pelican (1963) and Linoleum (1966).

“From Modernism to Post-Modernism: American Dance,” Dance of the Century, part 4 of 5. English version of Danse du siècle, part 4. 3⁄4-inch videotape, color and black and white, 53 minutes. Directed by Pierre-François Decouflé and Sonia Schoonejans. Written by Schoonejans. Produced by Nicole Philibert for La Sept, Paris, Pathé Télévision, Duran, Ostankino, Sovtelexport, and Gédéon in association with RAI 3, Italy. English version produced by Landseer Films, London. Includes excerpt of performance of Rauschenberg’s Pelican (1963).*
“Part 1: From Fragmentation to Wholeness,” Art Meets Science and Spirituality in a Changing Economy. VHS, 50 minutes. Conceived by Louwrien Wijers. Produced by Sheldon Rochlin, Wijers, and by Case Productions, New York. Directed and edited by Maxine Harris for Art Meets Science and Spirituality in a Changing Economy Symposium for the Art-of-Peace Foundation, Amsterdam (1990). Includes interview with Rauschenberg by Wijers. Corresponding publication, Art Meets Science and Spirituality in a Changing Economy (The Hague: SDU Publishers, 1990), with text on Rauschenberg by Mark Kremer and Wijers, pp. 32–53.

Astral Converted (50"). 1⁄2-inch videotape, 82 minutes (47 minutes performance runtime). Astral Converted (50") (1991) choreographed by Trisha Brown. Performed by Trisha Brown Dance Company, set and costumes by Rauschenberg, outdoors, National Gallery of Art, Washington, D.C., May.
Cage/Cunningham. ½-inch videotape, 95 minutes, 55 seconds, color and black and white. Directed by Elliot Caplan. Written by David Vaughan. Produced by Cunningham Dance Foundation, New York in association with La Sept, Paris. Choreography by Merce Cunningham. Music by John Cage.
ROCI: Robert Rauschenberg in Chile. 16 mm film, 29 minutes, 52 seconds. Directed by Werner Krüger. Produced by Artemedia Buch und Film GmbH, Cologne. Included in Rauschenberg Overseas Culture Interchange: ROCI USA, National Gallery of Art, Washington, D.C. (May 12–Sept. 2). © Werner Krüger.
“The Other ROCI,” Arena, March 22. Television broadcast, 60 minutes. Directed by Nigel Finch. Produced by Anthony Wall for BBC Television, London, Editions á voir. Discusses the Rauschenberg Overseas Culture Interchange (ROCI) project.
“Artist Robert Rauschenberg,” CBS Sunday Morning, June 16. Television broadcast. Produced by CBS News, New York. Interview with Rauschenberg at the Corcoran Gallery, Washington, D.C.

Aeros. 3⁄4-inch videotape, 34 minutes. Directed by Burt Barr. Produced by Susan Fait in association with WGBH-TV, Boston, and La Sept, Paris. Includes footage of performance of Astral Convertible (1989), choreographed by Trisha Brown, recorded in the U.S., Moscow, and in France at the Montpellier Dance Festival, 1989–90. Visual presentation by Rauschenberg, music by Richard “Dickie” Landry. Includes an appearance by Rauschenberg.
Foray Forêt. 1⁄2-inch videotape, 33 minutes. Foray Forêt (1990) choreographed by Trisha Brown. Performed by Trisha Brown Dance Company, set and costumes by Rauschenberg, Zellerbach Auditorium, University of California, Berkeley.
Paul Taylor Dance Company. ½-inch videotape, 77 minutes. Includes a performance of Three Epitaphs (1956), choreographed by Taylor, costumes by Rauschenberg, Ted Shawn Theater, Jacob’s Pillow, Becket, Mass., July 12.
“John Cage: I Have Nothing to Say and I Am Saying It,” American Masters. Television broadcast, color with black-and-white sequences, 59 minutes. Directed, coproduced, and edited by Allan Miller. Narrated by Patricia Denk Powers. Executive Producer Susan Lacy. Associate Producers Susan Kaplan and Lori Perlow. Produced and written by Vivian Perlis for WNET/13, New York, and Lola Films, Madrid.
“National Endowment for the Arts Funding,” May 15. Television broadcast, 32 minutes, 6 seconds. Produced by C-SPAN II.

Ein Amerikaner in Moskau: Robert Rauschenberg Kunstmission. Videotape, DVD, 42 minutes. Film by Viola Stephan. Directed by Gerd Kairat. Edited by Ingrid Milker. Produced by NDR. Documentary filmed in Captiva, Fla., New York, and Moscow for ROCI USSR. Broadcast on Tagesschau, Germany, production by ARD, West Germany.
“In Our Own Time,” Art of the Western World, season 1, part 9, Nov. 27. Television broadcast, 58 minutes. Produced, written, and directed by Suzanne Bauman for WNET/13, New York, in association with TVS, ORF, and Televisión Española, S.A. Hosted by Michael Wood. Includes artworks by Rauschenberg at Whitney Museum of American Art, New York.

Robert Rauschenberg: Technology Is Just Another Brush. 16 mm film, 55 minutes, 50 seconds. Directed by Werner Krüger. Produced by Artemedia Buch und Film GmbH, Cologne. © Werner Krüger.

The Collaborators: Cage, Cunningham, Rauschenberg. Television broadcast, 56 minutes. Produced and edited by Angela Davis for KETC Public Television, Saint Louis, Mo. Narrated by Adam Pinsker. Includes discussion moderated by David Vaughan with John Cage, Merce Cunningham, and Rauschenberg, as well as archival footage of Cunningham’s Travelogue (1977), and Antic Meet (1958), sets and costumes by Rauschenberg; and Minutiae (1954), set by Rauschenberg, Synod Hall, Cathedral Church of Saint John the Divine, New York, Jan. 1983.
“Robert Rauschenberg: Gluts,” Close Up TV. Television broadcast, 2 minutes, 10 seconds. Presented by Kathy McClintock and Valerie Williams. Produced by WINK TV, Fla. Includes an interview with Rauschenberg at Gluts, Barbara Mann Performing Arts Hall Wall, Edison Community College, Fort Myers, Fla. (March 26–May 7).
“Confirmation hearings of Judge Robert Bork: Senate Judiciary Committee,” day 7, part 3, Sept 22. Television broadcast, 57 minutes, 15 seconds. Produced by C-SPAN, Washington, D.C. Accessed Oct. 3, 2014.
“Senate Judiciary Committee Hearings on Bork,” CBS Morning News, Sept. 22. Television broadcast. Produced by CBS News, New York. Includes Rauschenberg discussing his testimony before the Senate Judiciary Committee hearing on Judge Robert H. Bork’s nomination to the U.S. Supreme Court.

ROCI Travelogue. Videotape, 61 minutes, 57 seconds. Produced by Robert Rauschenberg Foundation. Rauschenberg’s Rauschenberg Overseas Culture Interchange (ROCI) travelogue of Chile, Mexico, Tibet, and Venezuela

Robert Rauschenberg. ¾-inch videotape, 22 minutes, 30 seconds. Produced by Michael Moneagle. Edited by Bruce Spiegel. Musical excerpts by Laurie Anderson and John Cage. © ROCI, New York.
“Robert Rauschenberg at the National Gallery of Art,” Conversations with Artists. Two 3⁄4-inch videotapes (tape 1: 53 minutes, 42 seconds; tape 2: 39 minutes, 40 seconds). Recorded Jan. 6. Introduced by Ruth E. Fine. Includes Rauschenberg discussing his participation in the exhibition, Gemini G.E.L.: Art and Collaboration, National Gallery of Art, Washington, D.C. (Nov. 18, 1984–Feb. 24, 1985).
ROCI: Robert Rauschenberg in Mexico. 16 mm film, 30 minutes, 13 seconds. Directed by Werner Krüger. Produced by Artemedia Buch und Film GmbH, Cologne. © Werner Krüger.
Set and Reset, Version 1. 3⁄4-inch videotape, 22 minutes. Directed and produced by Susan Dowling. Produced by WGBH New Television Workshop, Boston, and Trisha Brown Dance Company, New York. Set and Reset (1983) choreographed by Brown. Performed by Trisha Brown Dance Company, set and costumes by Rauschenberg.
Nightline, “Disintegrating Works of Art,” Aug. 9. Television broadcast, 29 minutes, 26 seconds. Produced by ABC Television, New York. Includes discussion between Bruce Guenther, Ted Koppel, Rauschenberg, and Larry Rivers.*

“Pop Art Today,” ART/New York, no. 20. VHS, 28 minutes. Directed by Marc Miller and Paul Tschinkel. Produced by Tschinkel. Includes interview with Rauschenberg.
“Rauschenberg à la Fondation Maeght,” Désir des arts, June 3. Television broadcast, 26 minutes, 29 seconds. Produced by Antenne 2, Paris. Interview with Rauschenberg by Pierre Daix, with a discussion of Erased de Kooning Drawing (1953). Edited transcript published as “Gommer, c’est encore peindre.” In France Huser and Pierre Daix. Robert Rauschenberg, exh. cat. (Paris: Le Dernier Terrain Vague and Galerie Fabien Boulakia, 1990), pp. 67–69.

The Judson Project: Group Shoot: Trisha Brown, Alex Hay, and Robert Rauschenberg. 3⁄4-inch videotape, black and white, 82 minutes. Produced by Bennington College, Vt. Includes 1981 interview with Brown, Hay, and Rauschenberg by Sally Banes at 381 Lafayette Street, New York.
Seven Portraits. 16 mm film, 22 minutes. Written, directed, produced, and edited by Edvard Lieber, New York. Includes statement by Rauschenberg.
“Liebe lag einfach in der Luft.” Der Spiegel (Hamburg), no. 14/1997 (March 31, 1997), pp. 194–96.
Kaufman, Jason Edward. “Interview: Robert Rauschenberg.” Art Newspaper (London), no. 73 (Sept. 1997), p. 17.
Barber, Lynn. “Robert Rauschenberg.” Observer Life Magazine (London), Oct. 26, 1997, pp. 6–12.
Hirsch, Faye. “Weatherman: Robert Rauschenberg’s Ground Rules Series.” On Paper (New York) 2, no. 2 (Nov.–Dec. 1997), cover and pp. 10–15.

Interviews with an administrator of Trisha Brown Company, Trisha Brown, and Rauschenberg. Sound disc, 100 minutes total (84 minutes with Rauschenberg; 9 minutes with Trisha Brown). Recorded April 28. Interviews conducted by David Sears.
“Photography Exhibitions,” ART/New York, no. 11. VHS videotape, 28 minutes. Directed by Marc H. Miller and Paul Tschinkel. Produced by Tschinkel. Includes an interview with Rauschenberg.
“Paul Taylor: Three Modern Classics,” Great Performances, Dance in America, Jan. 11 [broadcast date unconfirmed]. Television broadcast, 60 minutes. Written by Holly Brubach. Directed by Emile Ardolino. Produced by Ardolino and Judy Kinberg for WNET/13, New York. A production of WNET/13 in association with UNC Center for Public Television, Research Triangle Park, N.C. Includes performance of Three Epitaphs (1956), choreographed by Taylor, costumes and lighting by Rauschenberg, American Dance Festival, Durham, N.C., summer 1981.
Beyond the Horizon, Dec. 31. Television broadcast, 11 minutes, 40 seconds. Produced by CBN Network, U.S.: Japan Magazine. Interview with Henry Baker. Includes discussion of Japanese ceramics and Rauschenberg’s three simultaneous Rauschenberg Overseas Culture Interchange (ROCI) exhibitions.

“Rauschenberg,” CBS Sunday Morning, Feb. 22. Segment of a 90-minute television broadcast. Produced by CBS News, New York. Includes footage of Rauschenberg in Captiva, Fla.
An Interview with Robert Rauschenberg, March 3. 3⁄4-inch videotape, 50 minutes. Produced by the Office of Instructional Services, Colorado State University in conjunction with the exhibition Rauschenberg in the Rockies, Clara Hatton Gallery and Lory Student Center, Fort Collins (March 3–April 4). Interview with Sidney Felsen, Bill Goldston, Dr. John Powers, and Diane Vanderlip.

Good Morning America, Jan. 11. Television broadcast, 52 minutes, 33 seconds. Produced by ABC Television, New York. Includes segment on Rauschenberg’s Periwinkle Shaft (1979–80), created for Children’s Hospital Medical Center, Washington, D.C.
“Merce Cunningham,” The South Bank Show, season 3, episode 7, March 2 [broadcast date unconfirmed]. Television broadcast, 60 minutes. Directed and produced by Geoff Dunlop for London Weekend Television in association with Cunningham Dance Foundation, New York. Edited and presented by Melvyn Bragg. Includes excerpts of Merce Cunningham Dance Company performance of Travelogue (1977), set and costumes by Rauschenberg. Filmed at Artpark, Lewiston, N.Y., and Cunningham studio, New York.
“Beyond the Mainstream,” Great Performances, Dance in America, May 21. Television broadcast, 60 minutes. Written by Faubion Bowers. Directed by Merrill Brockway. Narrated by Alan Titus. Produced by Brockway and Carl Charlson for WNET/13, New York. Includes excerpt of Trisha Brown’s Glacial Decoy (1979), set and costumes by Rauschenberg.
CBS Evening News, May 27. Television broadcast, 4 minutes, 20 seconds. Produced by CBS News, New York. Presented by Walter Cronkite and Jed Duvall. Interview with Rauschenberg about contributions to Ted Kennedy’s 1980 presidential campaign.
“Culture as Nature,” The Shock of the New, episode 7 of 8, Nov. 2. Television broadcast, 60 minutes. Written and presented by Robert Hughes. Directed by David Richardson for BBC Television, London, in association with Time Life Films and RM Productions, Munich. Produced by Laura Pegram. Includes interview with Rauschenberg by Hughes and footage of Pelican (1963).

Glacial Decoy. 1⁄2-inch videotape, black and white, silent, 15 minutes. Glacial Decoy (1979) choreographed by Trisha Brown. Performed by Trisha Brown Dance Company, set and costumes by Rauschenberg, Children’s Theater Minneapolis, May 7.
Robert Rauschenberg, Lafayette. Videotape portrait by Joan Logue. Created for 36th Biennial Exhibition of American Painting, Corcoran Gallery of Art, Washington, D.C. (Feb. 24–April 8).
Robert Rauschenberg: Retrospective. 16 mm film, 1⁄2-inch videotape, and 3⁄4-inch videotape, color and black and white, 45 minutes. Directed, produced, and distributed by Michael Blackwood for Michael Blackwood Productions, New York. Includes Rauschenberg discussing his retrospective at the Museum of Modern Art, New York (March 25–May 17, 1977). Interviews with Barbara Rose and Susan Rose.

Travelogue. One open reel tape, ½-inch videotape, converted to streaming video file, black and white, silent, 34 minutes total (32 minutes performance runtime). Travelogue (1977) choreographed by Merce Cunningham. Performed by Merce Cunningham Dance Company, set and costumes by Rauschenberg, Berkeley, Calif., fall 1978.
“The Museum as Patron,” Swank in the Arts, May 10. Television broadcast, 30 minutes. Produced by Patsy Swank and KERA/ 13, Dallas-Fort Worth. North Texas Art Films.

Inside New York’s Art World. 3/4-inch videotape, 27 minutes, 32 seconds. Conversation between Leo Castelli, Barbaralee Diamonstein-Spielvogel, and Rauschenberg. Interviewer and producer Diamonstein-Spielvogel in cooperation with New School for Social Research, New York. Edited transcript published in Diamonstein, “Robert Rauschenberg and Leo Castelli,” Inside New York’s Art World (New York: Rizzoli, 1979), pp. 305–15.
Robert Rauschenberg: Monogram, 1955–59. Videotape transferred from Super 8 film, black and white, 10 minutes, 25 seconds. Video by Alberta Mayo. Footage of curator Walter Hopps and preparators installing Monogram (1955-59) for the retrospective exhibition Robert Rauschenberg, San Francisco Museum of Modern Art (June 24–Aug. 21).
Brazos River. Television broadcast, 60 minutes. Produced by the Fort Worth Art Center and KERA/13, Dallas-Fort Worth, 1976, broadcast 1977. Directed by Dan Parr. Brazos River (1976) choreographed by Viola Farber. Performed by Viola Farber Dance Company, set and costumes by Rauschenberg, music by David Tudor. Filmed in the KERA TV Dallas studios.
“Merce Cunningham and Dance Company: Event for Television,” Great Performances, Dance in America, Jan. 5. Television broadcast, 60 minutes. Directed by Merrill Brockway. Produced by Emile Ardolino for WNET/13, New York. Includes excerpts of studio performances of Cunningham’s Minutiae (1954), set by Rauschenberg; and Antic Meet (1958), set and costumes by Rauschenberg.
1976
“Making More Than One,” An Art Series With Grace George Alexander. Television broadcast, black and white, 18 minutes, 25 seconds. Directed by Martin Long. Produced by Grace George Alexander, WNYE Channel 25 studios, New York.
“The Print World of Tatyana Grosman,” Part 2, Camera Three, April 11. Television broadcast, 29 minutes. Directed and produced by John Musilli for CBS Television, New York. Second part of a two-part series about the printmaking atelier Universal Limited Art Editions (ULAE). Includes footage of Rauschenberg at Grosman’s studio.

Mostly About Rauschenberg. 16 mm film, 50 minutes. Directed by Rauschenberg, Christine Kozlov, and Mayo Thompson, begun under the direction of Jacques Clemente. Produced by Michèle Arnaud and Reiner Moritz for RM Productions, Munich, and Technisonor, Paris. Unfinished project, never officially released. Later digital video compilation, 7 minutes, 1 second, Robert Rauschenberg Archives, Robert Rauschenberg Foundation. Includes archival footage of Rauschenberg’s performance and technology projects

America’s Pop Collector: Robert C. Scull—Contemporary Art at Auction. 16 mm, ½-inch videotape, 72 minutes. Conceptualized and coordinated by E. J. Vaughn and John Schott. Filmed by Alan Raymond and Susan Raymond. Coedited by Schott and Leah Siegel.
Bashaw, Maureen. “Artist Spills His ‘Gluts.’” Fort Myers News-Press (Fla.), March 26, 1987, sec. D, pp. 1, 9.

American Art in the Sixties. 16 mm film, ½-inch videotape, ¾-inch videotape, DVD, 50 minutes, 50 seconds. Directed by Michael Blackwood. Written and narrated by Barbara Rose. Produced and distributed by Blackwood Productions, New York. Examines the key artists of the decade, including Rauschenberg.
Footage of Robert Rauschenberg working on Untitled (Cardboard). Color videotape transfer from 16 mm film, 3 minutes, 4 seconds. Robert Rauschenberg Archives, Robert Rauschenberg Foundation. With Robert Petersen and Hisachika Takahashi, working at 381 Lafayette Street, New York. Nabisco Shredded Wheat (Cardboard) (1971) in background.
Painters Painting. 35 mm film, 16 mm film, videotape, DVD, color and black and white, 116 minutes. Directed by Emile de Antonio. Produced by de Antonio for Turin Film Corporation. Most gallery sequences shot at the Metropolitan Museum of Art, New York. Discusses fourteen artists, including Rauschenberg, active between 1940 and 1970. Edited transcript published in de Antonio and Mitch Tuchman. Painters Painting: A Candid History of the Modern Art Scene, 1940–1970 (New York: Abbeville Press, 1984).

End of the Art World. 16 mm film, DVD, 35 minutes. Directed by Alexis Krasilovsky.
Review, Nov. 19. Television broadcast, 51 minutes, 28 seconds. Introduced by David Jones. Produced by BBC Television, London. Includes discussion between Rauschenberg and Robert Hughes about Mud Muse (1968–71).*

Tōno, Yoshiaki. “Robert Rauschenberg.” In Chatting with Artists, pp. 155–86 (in Japanese). Tokyo: Iwanami Shoten, 1984.
Shewey, Don. “‘We Collaborated by Postcards’: An Interview with Robert Rauschenberg.” Theatre Crafts (New York) 18, no. 4 (April 1984), pp. 36–38, 72–75. Accessed Sept. 15, 2014.
Eldridge, John. “One Big Painter.” Miami News, May 4, 1984, sec. C, pp. 1, 10.
Huser, France. “L’Homme de Captiva Island.” Le Nouvel Observateur (Paris), no. 1020 (May 25, 1984), pp. 90–91. Reprinted in Robert Rauschenberg, p. 66. Exh. cat. Paris: Le Dernier Terrain Vague and Galerie Fabien Boulakia, 1990.

“Music and Dance, and Chance Operations: A Forum Discussion with Merce Cunningham,” Five College Forum, recorded and broadcast Feb. 16. 2 sound tape reels (tape 1: 7 ½-inches per second; tape 2: 7 inches, half-track, acetate), approximately 59 minutes. Recorded and broadcast by WFCR-FM, Amherst, Mass. Transferred to wav file and compact disc formats (2010). Includes discussion with Cunningham about his collaboration with Rauschenberg.

“Black Mountain College: A Thumbnail Sketch.” Television broadcast, 13 minutes. Written and directed by Monty Diamond. Narrated by Jonathan Williams. Produced by Diamond and South Carolina Educational Television, Columbia. Includes Rauschenberg discussing his silkscreen paintings.

9 Evenings: Theatre & Engineering. 16 mm, black and white, 25 minutes. Produced by Experiments in Art and Technology (E.A.T.), New York.
“The American Image,” May 26. Television broadcast, 51 minutes. Produced by NBC, New York. Includes footage of Rauschenberg.
“The Walls Come Tumbling Down,” Eye on Art, July 2. Television broadcast, 60 minutes. Produced by Merrill Brockway for WCBS, New York. Narrated by Leonard Harris. Includes an interview with Rauschenberg.

Canoe. 16 mm film, black and white, 5 and 12 minute versions. Film by Rauschenberg produced by editing found footage documenting a canoe trip. Robert Rauschenberg Archives, Robert Rauschenberg Foundation.
Linoleum. 16 mm film transfer from a videotape, black and white, 20 minutes. Produced for television by WNET/13, New York. Directed by Rauschenberg. Linoleum (1966) choreographed by Rauschenberg. Excerpt published in the multimedia magazine Aspen no. 5+6 (1967).
“Robert Rauschenberg,” U.S.A. Artists, June 28 [broadcast the week of June 26, specific broadcast date unconfirmed]. Television broadcast, black and white, 30 minutes. Written by Alan Solomon. Photography by David Hanser, Lane Slate, and Mallory Slate. Broadcast by WNET/13, New York. Includes footage of the artist working on Barge (1962–63) and Oracle (1962–65), performance footage of Pelican (1963), as well as excerpts from Canoe (1966).

Interview with Robert Rauschenberg. Sound disc, digital, stereo, 4 ¾-inch, 62 minutes. Unidentified interviewer speaking with Rauschenberg, likely in his New York studio between 1965–75.
Oral History Interview with Robert Rauschenberg, Dec. 21. Two sound tapes, 118 minutes. Reformatted in 2010 as four digital wav files. Archives of American Art, Smithsonian Institution, Washington, D.C. Interview by Dorothy Seckler conducted in New York. Transcript and audio excerpt available online.

Antic Meet. 16 mm film, black and white, 27 minutes, 9 seconds. Produced by Arne Arnbom for Sveriges Television AB (SVT), Sweden. Antic Meet (1958) choreographed by Merce Cunningham. Performed by Merce Cunningham Dance Company, set and costumes by Rauschenberg.
Night Wandering. 16 mm film, black and white, 18 minutes, 47 seconds. Produced by Arne Arnbom for Sveriges Television AB (SVT), Sweden. Night Wandering (1958) choreographed by Merce Cunningham. Performed by Merce Cunningham Dance Company, redesigned costumes by Rauschenberg. Version for television.
“Robert Rauschenberg.” Audiotape, 29 minutes, 38 seconds. Radio interview with Rauschenberg by David Sylvester. Produced by BBC Radio, London. Recorded in two sessions in Aug. Never aired. Edited transcript printed in Sylvester, Interviews with American Artists (London: Chatto & Windus, 2001), pp. 131–42.
Story. 16 mm film, black and white, 20 minutes. Directed by Hakki Seppala. Produced by the Finnish Broadcasting Company, Helsinki. Story (1963) choreographed by Merce Cunningham. Performed by Merce Cunningham Dance Company, set, costumes, and lighting by Rauschenberg.
Three Dances. 16 mm film, black and white, silent, 17 minutes, 30 seconds. Filmed by Gene Friedman. Narrated by Janet McCall. Includes excerpt of Party (1964), performed by Judson Dance Theater, Judson Memorial Church Gymnasium, New York, in which Rauschenberg participated.
Twenty Questions to Bob Rauschenberg. Recorded open reel videotapes (unreleased). Video by Sen Uesaki. Performed by Rauschenberg with assistance from Alex Hay, Deborah Hay, and Steve Paxton during a public dialogue with Yoshiaki Tōno, Sogetsu Art Center, Tokyo, Nov. 28. Rauschenberg responds to questions by creating the Combine Gold Standard on stage.*
“Making the Bedmakers,” Monitor, Feb. 2. Television broadcast, black and white, 45 minutes. Produced by BBC Television, London. Includes an interview with Rauschenberg by Bryan Robertson, Whitechapel Art Gallery, London.
“The Museum of Modern Art Reopened,” Eye on New York, May 26. Television broadcast, black and white, 30 minutes. Produced by Gordon Hyatt for WCBS-TV Local News, New York. Includes interview with Rauschenberg by Mike Wallace.

Pelican. Archival footage, 41 seconds. Pelican choreographed by Rauschenberg. Web video, San Francisco Museum of Art. Uploaded Dec. 1998.
Record of interviews with artists participating in The Popular Image Exhibition. 33 1⁄3-rpm phonograph record. Recorded and edited by Billy Klüver in collaboration with the Washington Gallery of Modern Art, Washington, D.C., for The Popular Image Exhibition, Washington Gallery of Modern Art (April 18–June 2). Interviews by Klüver and Henry Geldzahler. Originally released with the exh. cat. Audiocassette released by Klüver in 1993.
1962
Image et Technique / Merce Cunningham. 16 mm film, black and white, 27 minutes. Directed by Etienne Becker, Jackie Raynal, and Patrice Wyers. Interviews by Nathalie Stern. Produced by Bernard Ortion, Raynal, and Ileana Sonnabend. Includes interviews with John Cage, Merce Cunningham, and Rauschenberg. Features excerpts from Cunningham’s Aeon (1961), Antic Meet (1958), Changeling (1957), Crises (1960), Nocturnes (1956), Rune (1959), Story (1963), Suite for Five (1957), and Summerspace (1958), set and costumes by Rauschenberg; and Paired (1964), costumes by Rauschenberg. Filmed during rehearsals and in live performance, Théâtre de l’Est Parisien, Paris, and La Comédie de Bourges, France. [Year of production unconfirmed. The film may be more accurately dated to 1964, as it includes dances choreographed after 1962]

Crises. 16 mm, black and white, 22 minutes, 30 seconds. Directed by Helen Priest Rogers. Rehearsal of Crises (1960), choreographed by Merce Cunningham. Performed by Merce Cunningham Dance Company, costumes by Rauschenberg, Fourteenth American Dance Festival, Palmer Auditorium, Connecticut College, New London, Aug. 14.
Niki de Saint Phalle “tir.” Super 8 film, transferred to videotape (ca. 2010), 13 minutes, 22 seconds. Filmed by Billy Klüver. Edited by Barbro Schultz Lundestam. Klüver-Martin Archive, New Jersey. Rauschenberg participated, among others. Filmed at the Staket sandpit, near Värmdö, Sweden, May 23, during the exhibition Rörelse i Konsten, Moderna Museet, Stockholm (May 17–Sept. 3).

“Images and Reflections,” Feb. 13. Television broadcast. Images and Reflections (1958) choreographed by Paul Taylor, version for television. Set and costumes by Rauschenberg.*

Images and Reflections. 1-minute, 20-second performance clip, black and white, silent, from the performance compilation film (Guggenheim Museum, New York, 1997). Images and Reflections (1958) choreographed by Paul Taylor. Performed by Paul Taylor Dance Company, set and costumes by Rauschenberg and Taylor, Kaufmann Concert Hall, 92nd Street YM-YMHA, New York, Dec. 20.
Summerspace. ½-inch videotape, 16 mm film, black and white, silent, 14 minutes total (9 minutes performance runtime). Directed by Helen Priest Rogers. Summerspace (1958) choreographed by Merce Cunningham. Performed by Merce Cunningham Dance Company, set, costumes, and lighting by Rauschenberg, Eleventh American Dance Festival, Palmer Auditorium, Connecticut College, New London, Aug. 17.

Duet. 15-second still image clip, black and white, silent, from the performance compilation film (Guggenheim Museum, New York, 1997). Duet (1957) choreographed by Paul Taylor. Performed by Paul Taylor Dance Company, artistic direction by Jasper Johns and Rauschenberg, costumes by Rauschenberg, Seven New Dances, Kaufmann Concert Hall, 92nd Street YM-YWHA, New York, Oct. 20.

Three Epitaphs. 1-minute performance clip, black and white, silent, from the performance compilation film (Guggenheim Museum, New York, 1997). Three Epitaphs (1956) choreographed by Paul Taylor. Performed by Paul Taylor Dance Company, costumes by Rauschenberg, Master Institute Theater, New York, March 27.

Minutiae. 40-second performance clip, black and white, silent, from the performance compilation film produced in 1997 by the Solomon R. Guggenheim Museum, New York, for the exhibition Robert Rauschenberg: A Retrospective (Sept. 19–Jan. 7, 1998), 16 mm, 47 minutes total. Minutiae (1954) choreographed by Merce Cunningham. Performed by the Merce Cunningham Dance Company, set by Rauschenberg, Brooklyn Academy of Music, New York, Dec. 8.
1953
Merce Cunningham. 3⁄4-inch videotape, black and white, silent, 11 minutes. Directed by Nick (Nicola) Cernovich. Includes footage of Rauschenberg in his studio at Black Mountain College, near Asheville, N.C.

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Copeland, Allan. Merce Cunningham: The Modernizing of Modern Dance. London: Routledge, 2003.
Giles, Gretchen. “Man and Machine: How Rauschenberg and Architecture Collaborate at Ken Berman’s Studio.” Bohemian (Santa Rosa, Calif.), May 29–June 4, 2003, pp. 17–18.
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Riout, Denys. “Le parti d’en sourire: À propos d’oeuvres de Rauschenberg,
Spoerri, Manzoni, et de quelques autres.” In Reproductibilité et irreproductibilité de l’oeuvre d’art, pp. 107–21. Brussels: La Lettre Volée, 2001.
Brown, Carolyn. “Merce Cunningham and the Language of the Body.” New York Times, March 25, 2001, sec. AR, pp. 1, 18.
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Golding, Martin. “New York: The Painter and the City.” Modern Painters (London) 14, no. 3 (Autumn 2001), pp. 106–13.
Larson, Kay. “Cage Was not only All Ears, He Was All Eyes, Too.” New York Times, Feb. 4, 2001, sec. AR, p. 40.

Reiss, Julie H. From Margin to Center: The Spaces of Installation Art. Cambridge, Mass.: MIT Press, 2000
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Baker, Steve. The Postmodern Animal. London: Reaktion Books, 2000.Ewald, Elin Lake. “An Analysis of the Effect of Economic Recessions from 1973 to 1993 on the Auction Value of Paintings by Eight Contemporary Artists.” PhD diss., New York University, 2000
Boxer, Sarah. “Animals Have Taken Over Art, and Art Wonders Why.” New York Times, June 24, 2000, sec. B, pp. 9, 11.

American Visions: The Epic History of Art in America. New York: Alfred A. Knopf.
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Stuckey, Charles. “Johns: Hidden and Revealed.” Art in America (New York) 85, no. 4 (April 1997), pp. 33–39. Merce Cunningham: Fifty Years. New York: Aperture, 1997.
Baker, Richard Brown. “My Dinner with Jasper Johns (and Robert Rauschenberg, Leo Castelli, Robert and Ethel Scull, Willem de Kooning, Franz Kline and Lots More).” Paris Review (New York), no. 143 (Summer 1997), pp. 212–23. “Innovation: Breaking the Mold.” Time (New York), special issue, American Visions (Spring 1997), pp. 76, 83.

Lovelace, Carey. “Oh No! Mistakes into Masterpieces.” Artnews (New York) 95, no. 1 (Jan. 1996), pp. 118–21.

Boyer, Kathryn Anne. Political Promotion and Institutional Patronage: How New York Displaced Paris as the Center of Contemporary Art, ca. 1955–1968. Ann Arbor, Mich.: University of Michigan Press, 1995.
Cunningham, Merce. “Story: Tale of a Dance and a Tour.” Parts 1–3. Dance Ink (New York) 6, no. 1 (Spring 1995), pp. 14–21; no. 2 (Summer 1995), pp. 18–22; no. 3 (Autumn 1995), pp. 32–36.

Banes, Sally. Democracy’s Body: Judson Dance Theater, 1962–64. Edited by Stephen C. Foster. Studies in the Fine Arts: The Avant-Garde 43. Ann Arbor, Mich.: University Microforms International Research Press, 1983. Durham, N.C.: Duke University Press, 1993.

Owens, Craig. “The Allegorical Impulse: Toward a Theory of Postmodernism, Part 2.” October (Cambridge, Mass.), no. 13 (Summer 1980), pp. 59–80. Reprinted in Owens. Beyond Recognition: Representation, Power, and Culture, edited by Scott Bryson, Barbara Kruger, Lynne Tillman, and Jane Weinstock, pp. 70–87. Berkeley: University of California Press, 1992

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McDarrah, Fred W. The Artist’s World in Pictures: The New York School. New York: E. P. Dutton, 1961. New York: Shapolsky, 1988.

Steiner, Wendy. “Postmodernist Portraits.” Art Journal (College Art Association, New York) 46, no. 3 (Autumn 1987), pp. 173–77.
Harris, Mary Emma. The Arts at Black Mountain College. Cambridge, Mass.: MIT Press, 1987.
Taylor, Paul. Private Domain. New York: Alfred A. Knopf, 1987.

Cohen, Ronny. “The Medium Isn’t the Message.” Artnews (New York) 84, no. 8 (Oct. 1985), pp. 74–81.
Cunningham, Merce, and Jacqueline Lesschaeve. Le Danseur et la danse. Paris: P. Belfond, 1980. Published in English as The Dancer and the Dance. New York: Marion Boyars, 1985.

de Antonio, Emile, and Mitch Tuchman. Painters Painting: A Candid History of the Modern Art Scene, 1940–1970. New York: Abbeville Press, 1984.

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Copeland, Roger. “The Politics of Perception.” Contact Quarterly (Northampton, Mass.) 6, no. 2 (Winter 1981), pp. 16–23.
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Tōno, Yoshiaki. “International Look at the USA: Japanese, From a Gulliver’s Point of View.” Art in America (New York) 48, no. 2 (Summer 1960), pp. 54–59.

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Monographic Selections From Periodicals And Newspapers

“Undrinking the River Lethe or Remembering to Subvert: Two Drawings by Robert Rauschenberg.” Master Drawings (New York) 57, no. 2 (Summer 2019), pp. 219–36.

Krčma, Ed. “Dating the Dante Drawings: Rauschenberg and Method.” Burlington Magazine (London) 159, no. 1377 (Dec. 2017), pp. 964–75.
Wainwright, Lisa. “Gustave and the Goat: Rauschenberg’s ‘Monogram’ and Courbet’s ‘The Painter’s Studio.’” Burlington Magazine (London) 159, no. 1377 (Dec. 2017), pp. 956–63.
Feinstein, Rochelle; Sara Greenberger Rafferty; Mary Reid Kelley; Matt Saunders; Gedi Sibony; and Jessica Stockholder. “The Artist’s Artist: A Rauschenberg Symposium.” Art in America (New York) 105, no. 1 (Jan. 2017), pp. 44–53.
Hsu, Helen. “Tripping on Stoned Moon.” Foam (Amsterdam) no. 47 (2017), pp. 176, 193.

Jobey, Liz with Michael Craig-Martin, Antony Gormley, Philippe Parreno, David Salle, and Carolee Schneemann. “In the Gap Between Art and Life.” FT Weekend Magazine (London), Nov. 19–20, 2016, pp. 52–56.
Lobel, Michael. “Lost and Found.” Artforum (New York) 54, no. 6 (Feb. 2016), cover and pp. 184–97.
“‘Visibile Parlare’: Rauschenberg’s Drawings for Dante’s Inferno.” Word and Image (London) 32, no. 1 (Jan.–March 2016), pp. 77–103.
"Rauschenberg’s Modern Infernos for Life Magazine.” Visual Resources (Abingdon, U.K.) 32, nos. 1–2 (March–June 2016), pp. 145–68.
“Rauschenberg, Dante, Kennedy, and Space Exploration.” Source: Notes in the History of Art (New York) 35, no. 3 (Spring 2016), pp. 258–67.
“Rereading Rauschenberg’s Monogram.” Konsthistorisk tidskrift/Journal of Art History (Stockholm) 85, no. 4 (2016), pp. 271–98.

Healy, Charlotte. “A Radical Disregard for the Preservation of Art: Robert Rauschenberg’s Elemental Paintings.” Interventions (Columbia University, New York) 4, no. 1 (Jan. 2015)
“My Friend Robert Rauschenberg.” New York Review of Books Daily, Nov. 14, 2015.

Lacombe, Anne-Marie. “Art et archives: Le cas Robert Rauschenberg.” Documentation et bibliothèques (Montreal) 60, no. 4 (Oct.–Dec. 2014), pp. 198–205.
“Contemplating Photographs in Rauschenberg’s Early Work.” History of Photography (London) 38, no. 2 (May 2014), pp. 113–36.
Gluibizzi, Amanda. “Portrait of the Artist(s) as a Portrait of Iris Clert.” Word and Image (London) 30, no. 4 (Oct.–Dec. 2014), pp. 455–63.

Jones, Jonathan. “Robert Rauschenberg: Love and Loss in America.” Guardian (London), Feb. 9, 2013.
“Image and Text in Crisis: Rauschenberg’s and Robbe-Grillet’s Traces suspectes en surface.” Art in Print (Chicago) 2, no. 6 (March–April 2013), pp. 3–7.

“In Need of Repair: The Early Exhibition History of Robert Rauschenberg’s Combines.” Burlington Magazine (London) 154, no. 1308 (March 2012), pp. 191–97.

Craft, Catherine. “Lost and Found.” Art in America (New York) 99, no. 10 (Nov. 2011), pp. 144–53.
“Vaporous Fantasies.” Tate Etc. (London), no. 23 (Autumn 2011), pp. 82–83.
Richards, Elizabeth. “Rauschenberg’s Religion: Autobiography and Spiritual Reference in Rauschenberg’s Use of Textiles.” Southeastern College Art Conference Review (Carrboro, N.C.) 16, no. 1 (2011), pp. 39–48.
Rockburne, Dorothea. “Moveable Feast.” Artforum (New York) 50, no. 3 (Nov. 2011), pp. 218–19.
Boaden, James. “Black Painting (with Asheville Citizen).” Art History (Association of Art Historians, London) 34, no. 1 (Feb. 2011), pp. 166–91.

Brooks, Bonnie. “Leaving the Door Open.” Liner notes for Merce Cunningham Dance Company: Robert Rauschenberg Collaborations, pp. 4–21. San Francisco: Artpix, 2010. DVD.
Folland, Tom. “Robert Rauschenberg’s Queer Modernism: The Early Combines and Decoration.” Art Bulletin (College Art Association, New York) 92, no. 4 (Dec. 2010), pp. 348–65.
de la Maza Chevesich, Josefina. “Introducing the World to Himself: Robert Rauschenberg and ROCI Chile.” Art Criticism (Stony Brook University, N.Y.) 25, nos. 1–2 (2010), pp. 43–57.
“SFMOMA 75th Anniversary: David White.” Interview by Sarah Roberts, Peter Samis, Richard Cándida Smith, and Jill Sterrett, 2009, Regional Oral History Office, Bancroft Library, University of California, Berkeley. San Francisco Museum of Modern Art, 2010.

“Remembering Robert Rauschenberg (1928–2008).” American Art (Smithsonian American Art Museum, Washington, D.C.) 23, no. 1 (Spring 2009), pp. 116–19.
Rauschenberg, Christopher. “Robert Rauschenberg, 1925–2008.” Aperture (New York), no. 196 (Autumn 2009), pp. 86–87.
“Robert Rauschenberg: Working with Found Objects.” Scholastic Art (New York) 40, no. 1 (Sept.–Oct. 2009), cover and pp. 2–9.
“Pause: Les Cardboard Pieces de Robert Rauschenberg.” Cahiers du Musée national d’art moderne (Paris), no. 108 (Summer 2009), pp. 50–67.

Byrne, David. “Bob the Builder.” New York Times, May 16, 2008, sec. A, p. 23.
Casciani, Stefano, and Luigi Spignelli. “The Rauschenberg Blues.” Domus (Milan), no. 916 (July–Aug. 2008), pp. 85–89.
“Social Register.” Artforum (New York) 47, no. 1 (Sept. 2008), pp. 426–31, 484, 492.
Cullinan, Nicholas. “Double Exposure: Robert Rauschenberg’s and Cy Twombly’s Roman Holiday.” Burlington Magazine (London) 150, no. 1264 (July 2008), pp. 460–70.
de la Durantaye, Leland. “Rummaging Through Rauschenberg’s Trash.” Modern Painters (London) 20, no. 6 (July–Aug. 2008), pp. 72–75.
Finch, Charlie. “Rauschenberg/Warhol.” Artnet, May 14, 2008.
Hogan, Michael. “Bill Clinton Remembers Robert Rauschenberg.” Vanity Fair Daily, Oct. 29, 2008.
“Media Player.” Artforum (New York) 47, no. 1 (Sept. 2008), pp. 438–41, 492.
“‘Committing the Perfect Crime’: Sexuality, Assemblage, and the Postmodern Turn in American Art.” Art Journal (College Art Association, New York) 67, no. 1 (Spring 2008), pp. 38–53.
Keats, Jonathon. “Manifesto.” Artweek (Palo Alto, Calif.) 39, no. 7 (Sept. 2008), pp. 4, 24.
“A Reluctant Prophet.” Art and Antiques (New York) 31, no. 11 (Nov. 2008), pp. 128–34.
“Robert Rauschenberg, Who Redefined American Art, Dies at 82.” New York Times, May 14, 2008, sec. A, pp. 1, 20.
Lacayo, Richard. “The Wild and Crazy Guy.” Time (New York) 171, no. 20 (May 2008), p. 19.
Landi, Ann. “Poet, Explorer, Innovator, Scavenger, Jester.” Artnews (New York) 107, no. 7 (Summer 2008), pp. 156–59.
Macaulay, Alastair. “Rauschenberg and Dance, Partners for Life.” New York Times, May 14, 2008, sec. E, pp. 1, 5.
McNay, Michael. “Robert Rauschenberg.” Guardian (London), May 13, 2008.
“Material Witness.” Artforum (New York) 47, no. 1 (Sept. 2008), pp. 424–41, 484, 492. With contributions by Trisha Brown, Thomas Crow, Merce Cunningham, Branden W. Joseph, Brice Marden, Barbara Rose, James Rosenquist, and Robert Whitman.
“The Rauschenberg Legacy.” Changing Lives (Edison State College, Fort Myers, Fla.) (Autumn 2008), pp. 7–10.
Ripley, Deborah. “Signs of the Times.” Art on Paper 13, no. 1 (Sept.–Oct. 2008), p. 23.
Rockburne, Dorothea, and Nan Rosenthal. “Tribute to Robert Rauschenberg (1925–2008).” Brooklyn Rail (New York), June 2008, p. 43.
“Rauschenberg’s Revolution...” Wall Street Journal (New York), May 14, 2008, sec. D, p. 7.
“Seeing Rauschenberg Seeing.” Artforum (New York) 47, no. 1 (Sept. 2008), pp. 432–36, 492.
“American Inventor: Remembering Rauschenberg.” New York 41, no. 19 (May 26, 2008), p. 64.
Smith, Roberta. “Rauschenberg Got a Lot from the City and Left a Lot Behind.” New York Times, May 16, 2008, sec. E, p. 34.
“Let Us Now Praise Robert Rauschenberg.” Art in America (New York) 96, no. 8 (Sept. 2008), p. 38.
Turner, Fred. “Romantic Automatism: Art, Technology, and Collaborative Labor in Cold War America.” Journal of Visual Culture (London) 7, no. 1 (April 2008), pp. 5–26.
Weems, Jason. “Scanning Bob’s Body: Rauschenberg’s Booster, Science, and the Techno-Visual Subject.” Bulletin of the Detroit Institute of Arts 82, nos. 1–2 (2008), pp. 4–15.

Bader, Graham. “Rauschenberg’s Skin.” Grey Room (Cambridge, Mass.), no. 27 (Spring 2007), pp. 104–18.
Boyer, Kathryn. “Robert Rauschenberg and the American Postwar Political and Social Scene.” Konsthistorisk tidskrift/Journal of Art History (Stockholm) 76, nos. 1–2 (2007), pp. 92–106.
Crager, Jack. “The Environmental Portrait.” American Photo Magazine (New York) (March–April 2007), p. 59.
Boyer. Konsthistorisk tidskrift/Journal of Art History (Stockholm) 76, nos. 1–2 (2007), pp. 119–26.
Gunnarsson, Annika. “Sidetrack—Robert Rauschenberg.” Konsthistorisk tidskrift/Journal of Art History (Stockholm) 76, nos. 1–2 (2007), pp. 60–71.
Hayden, Hans. “Transition Points: Notes on the Interplay Between Art and Art History in the Time of Visual Culture.” Konsthistorisk tidskrift/Journal of Art History (Stockholm) 76, nos. 1–2 (2007), pp. 78–91.
“Reading Watchman Through the Archive.” Archives of American Art Journal (Washington, D.C.) 46, nos. 3–4 (Autumn 2007), pp. 29–35.
Öhrner, Annika. “Recalling Pelican: On P.O. Ultvedt, Robert Rauschenberg and Two ‘Ballets.’” Konsthistorisk tidskrift/Journal of Art History (Stockholm) 76, nos. 1–2 (2007), pp. 27–39.
“Robert Rauschenberg: From enfant terrible to Old Master.” Art and Antiques (Atlanta) 30, no. 6 (June 2007), pp. 111–13.
Stenström, Emma. “Another Kind of Combine: Monogram and the Moderna Museet.” Konsthistorisk tidskrift/Journal of Art History (Stockholm) 76, nos. 1–2 (2007), pp. 48–59.
Tellgren, Anna. “Rauschenberg’s Swedish Combines.” Konsthistorisk tidskrift/Journal of Art History (Stockholm) 76, nos. 1–2 (2017), pp. 72–77.
Widenheim, Cecilia. “A Goat’s-Eye View—Monogram at the Moderna Museet.” Konsthistorisk tidskrift/Journal of Art History (Stockholm) 76, nos. 1–2 (2007), pp. 40–47.

“The Sins of the World.” Apollo (London) 164, no. 536 (Oct. 2006), pp. 56–61.
Bertrand, Valére. “‘Interview’ de Robert Rauschenberg.” Connaissance des arts (Paris), no. 642 (Oct. 2006), pp. 112–15.
Castro, Jan Garden. “A New Sculptural Idiom: Robert Rauschenberg.” Sculpture (Washington, D.C.) 25, no. 7 (Sept. 2006), pp. 48–55.
“The Gap and the Frame.” October (Cambridge, Mass.), no. 117 (Summer 2006), pp. 44–70.
Katz, Vincent. “A Genteel Iconoclasm.” Tate Etc. (London), no. 8 (Autumn 2006), pp. 38–41.
Lebovici, Élisabeth. “Robert Rauschenberg: Rebus.” Art Press (Paris), no. 327 (Oct. 2006), pp. 18–20 (in English and French).
Neil, Jonathan T. D. “Factum I Factum II.” Modern Painters (New York) (Dec. 2005–Jan. 2006), pp. 76–77.

Cereceda, Miguel. “Rauschenberg.” Cuadernos del IVAM (Valencia), no. 3 (Spring 2005), pp. 50–61, 99–102.
Imdahl, Georg. “Früh auf dem Gipfel seiner Möglichkeiten.” Kölner Stadt-Anzeiger (Cologne), Oct. 21, 2005, p. 24.
Linstrom-Arnold, Barbara. “Artists in Residence: Robert Rauschenberg and Darryl Pottorf.” Times of the Islands (Sanibel, Fla.) 10, no. 2 (March–April 2005), cover and pp. 54–59.
Neil, Jonathan T. D. “Factum I Factum II.” Modern Painters (New York) (Dec. 2005–Jan. 2006), pp. 76–77.

Dezeuze, Anna. “Unpacking Cornell: Consumption and Play in the Work of Rauschenberg, Warhol and George Brecht.” Papers of Surrealism (University of Manchester, U.K.), no. 2 (Summer 2004).
Hall, James. “Crime Scenes: Robert Rauschenberg’s Peculiar Interest in the Pre-Raphaelites.” Times Literary Supplement (London), no. 5269 (March 26, 2004), pp. 3–4.
Serafini, Giuliano. “Rauschenberg.” Art Dossier (Florence), no. 198 (March 2004).
Genocchio, Benjamin. “Rauschenberg: Autumn of an Art Patriarch.” New York Times, June 27, 2004, sec. CT, p. 8.
Hall, James. “Crime Scenes: Robert Rauschenberg’s Peculiar Interest in the Pre-Raphaelites.” Times Literary Supplement (London), no. 5269 (March 26, 2004), pp. 3–4.
Reid, Katherine. “Portrait of the Artist.” Gulfshore Life (Naples, Fla.) (Oct. 2004), pp. 150–55.

Perkins, Zoe Annis. “A Chilling Experience: The Treatment of a Robert Rauschenberg ‘Hoarfrost’ Painting.” Textile Specialty Group Postprints (American Institute for Conservation of Historic and Artistic Works, Washington, D.C.) 13 (2003), pp. 95–102.
Plagens, Peter. “Rauschenberg’s American Beauties: A Life in Theatrical Collage.” New York Times, Oct. 12, 2003, sec. AR, p. 5.

Kachurin, Pamela. “The ROCI Road to Peace: Robert Rauschenberg, Perestroika, and the End of the Cold War.” Journal of Cold War Studies (Cambridge, Mass.) 4, no. 1 (Winter 2002), pp. 27–43.
Morra, Joanne. “Rauschenberg’s Skin: Autobiography, Indexicality, Auto-Eroticism.” New Formations (London), no. 46 (Spring 2002), pp. 48–63.

“‘A Duplication Containing Duplications’: Robert Rauschenberg’s Split Screens.” October (Cambridge, Mass.), no. 95 (Winter 2001), pp. 3–27.
Milroy, Sarah. “Rauschenberg’s Story.” Globe and Mail (Toronto), Oct. 9, 2001, sec. R, pp. 1, 11.

Kimmelman, Michael. “The Irrepressible Ragman of Art.” New York Times, Aug. 27, 2000, sec. 2, pp. 1, 26.
Belcove, Julie L. “Old Master.” W (New York) 29, no. 9 (Sept. 2000), pp. 502–07, 525.
Behr, Manfred. “Robert Rauschenberg.” Florida Journal (Fort Myers) (July–Sept. 2000), cover and pp. 20–25 (in German).
“Robert Rauschenberg: Holiday Ruse (Night Shade), 1991.” Artforum (New York) 38, no. 9 (May 2000), pp. 154–55.
Joseph, Branden W. “White on White.” Critical Inquiry (Chicago) 27, no. 1 (Autumn 2000), pp. 90–121.