Robert Rauschenberg's Fabric Works of the 1970s: A Rebellion Against Meaning
The Menil Collection has just unveiled a show that delves into an often-overlooked aspect of Robert Rauschenberg's oeuvre, one that is as captivating as it is enigmatic. "Robert Rauschenberg: Fabric Works of the 1970s" brings together works from three distinct bodies of art - the Venetians, Hoarfrosts, and Jammers - that showcase the artist's experimentation with textiles.
From the opening installation, Sant'Agnese (Venetian), it is clear that Rauschenberg was a master of juxtaposition. A mosquito net stretched between two weathered wooden chairs, adorned with shoelaces and corked glass jugs, appears to be an exercise in absurdity, yet somehow, it feels strangely significant. The chairs are positioned at a great distance from each other, as if turned away from the truth, leaving the viewer to ponder the cause of this rift.
The Hoarfrost series, on the other hand, embodies Rauschenberg's rebellion against meaning. By running newspapers and magazines through the lithography press alongside translucent fabrics stained with ink, he creates an atmosphere of obscurity. Bucket (Hoarfrost), featuring Lucas Cranach The Elder's 16th-century print, is juxtaposed with a Pierre Cardin dress-shirt ad that reads, in part, "His only concession to success is the choice of fabrics that are both distinctif and distingue." One cannot help but wonder if this refers to Rauschenberg himself.
The Jammers series takes windsurfing as its inspiration, with textiles that flutter like the wind. These works showcase Rauschenberg's ability to pin down his subjects while also capturing their elusive essence. The result is a sense of mystery and enchantment that lingers long after leaving the gallery.
As we navigate this latest exhibition, it becomes clear that Rauschenberg's exploration of fabric works was not merely an exercise in experimentation but a means to convey the complexities of human experience. His use of everyday materials, like shoelaces and newspaper, imbues his art with a sense of ordinariness, making the extraordinary seem all too familiar.
"Robert Rauschenberg: Fabric Works of the 1970s" is on view at The Menil Collection through March 1, 2026. Do not miss this opportunity to delve into an underexplored aspect of one of America's most innovative artists.
The Menil Collection has just unveiled a show that delves into an often-overlooked aspect of Robert Rauschenberg's oeuvre, one that is as captivating as it is enigmatic. "Robert Rauschenberg: Fabric Works of the 1970s" brings together works from three distinct bodies of art - the Venetians, Hoarfrosts, and Jammers - that showcase the artist's experimentation with textiles.
From the opening installation, Sant'Agnese (Venetian), it is clear that Rauschenberg was a master of juxtaposition. A mosquito net stretched between two weathered wooden chairs, adorned with shoelaces and corked glass jugs, appears to be an exercise in absurdity, yet somehow, it feels strangely significant. The chairs are positioned at a great distance from each other, as if turned away from the truth, leaving the viewer to ponder the cause of this rift.
The Hoarfrost series, on the other hand, embodies Rauschenberg's rebellion against meaning. By running newspapers and magazines through the lithography press alongside translucent fabrics stained with ink, he creates an atmosphere of obscurity. Bucket (Hoarfrost), featuring Lucas Cranach The Elder's 16th-century print, is juxtaposed with a Pierre Cardin dress-shirt ad that reads, in part, "His only concession to success is the choice of fabrics that are both distinctif and distingue." One cannot help but wonder if this refers to Rauschenberg himself.
The Jammers series takes windsurfing as its inspiration, with textiles that flutter like the wind. These works showcase Rauschenberg's ability to pin down his subjects while also capturing their elusive essence. The result is a sense of mystery and enchantment that lingers long after leaving the gallery.
As we navigate this latest exhibition, it becomes clear that Rauschenberg's exploration of fabric works was not merely an exercise in experimentation but a means to convey the complexities of human experience. His use of everyday materials, like shoelaces and newspaper, imbues his art with a sense of ordinariness, making the extraordinary seem all too familiar.
"Robert Rauschenberg: Fabric Works of the 1970s" is on view at The Menil Collection through March 1, 2026. Do not miss this opportunity to delve into an underexplored aspect of one of America's most innovative artists.
. I mean, who thought putting a weathered wooden chair next to a mosquito net and some old glass jugs was a good idea? 
It's like he's saying, "Screw trying to make sense of things, let's just throw some stuff at the wall and see what sticks." And, honestly, it's kinda beautiful in its own weird way. 
The Jammers series is also super cool, I love how the textiles flutter around like they're dancing in the wind 
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. The exhibit is only on for a bit longer, and I think it's worth seeing 
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rauschenberg's use of fabric is so fascinating, it feels like he's trying to unravel the threads of human experience 
what i love about his work is that it's not just about creating something beautiful, but also about questioning meaning and context 
just saw that the world's largest coral reef has been damaged by climate change and pollution 
another devastating loss for our planet's ecosystem...
they're like nothing you've ever seen before - these installation pieces, the way he incorporates everyday materials into his art... it's like he's trying to break down the boundaries between high art and reality 
and have you seen bucket (hoarfrost)? lucas cranach the elder's print alongside a pierre cardin ad? what even is that?! 
it's all about robert rauschenberg's fabric works from the 70s and honestly it's like, totally mind-blowing 
and then there's the hoarfrost series which is just, wow 
he's taking these old newspaper articles and magazines and running them through a lithography press to create this weird, obscurantist vibe that's like, totally captivating
windsurfing as art? it's genius 
. He takes the mundane (newspaper, shoelaces) and makes it into something deeply profound 
. His Venetian series, especially Sant'Agnese, is all about juxtaposition and making us question what's real and what's not 
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. He's not just messing around with materials; he's trying to say something profound 
. And that's what makes this exhibition so special – it's like, you walk into the gallery and suddenly everything feels more complex, more interesting 
. I mean, have you seen Sant'Agnese (Venetian)? That mosquito net with shoelaces and corked glass jugs is like, what even is it? 
. I'm obsessed with Bucket (Hoarfrost) - who is Rauschenberg referencing when he uses that Pierre Cardin ad? 
. And don't even get me started on the cafe prices... $5 for a cup of coffee? Come on! 
. IT'S LIKE HE WAS SAYING "HEY, THERE'S DEEP STUFF HERE, BUT LET ME SHOW YOU IN A WAY THAT'S NOT OBVIOUS AT ALL" 
. I ALSO LOVE HOW HE TOOK WINDSURFING AS INSPIRATION FOR THE JAMMERS SERIES, IT'S JUST SO UNEXPECTED 
. He's all about messin' with meaning and gettin' us to think differently 
But seriously, it's like he's takin' everyday things and makin' 'em extra special 
. Can we please just have a forum where we can talk about something other than art for once? Idk about Rauschenberg's fabric works, some of it seems kinda cool, but it all feels so... familiar 
. I need something more than just looking at pretty pictures to get me excited 
He was all about experimentation and pushing boundaries, but also making the everyday feel super significant. Like, who wouldn't want to wrap a mosquito net around two chairs and call it art? 