Robert Rauschenberg (1925-2008)

‘[Rauschenberg] took images out of context and juxtaposed them with other, similarly displaced images in order to generate complex interlockings of meaning and form. The associative dialogue produced by these non-hierarchical clusters evokes a multiplicity of references. Rauschenberg’s work therefore is multi-directional and open-ended, poetic and evocative; meaning is inherent but impossible to pin down’
(C. Tomkins, ‘The Sistine on Broadway’, in Robert Rauschenberg: The Silkscreen Paintings, 1962-1964, exh. cat., Whitney Museum of American Art, pp. 28-29).