SFMOMA: Rauschenberg Research Project

SFMOMA publishes online collection catalogue of the Rauschenberg Research Project, a survey of nearly ninety works by Robert Rauschenberg from the permanent collection.

The San Francisco Museum of Modern Art (SFMOMA) is delighted to announce the recent publication its first online collection catalogue, the Rauschenberg Research Project, a survey of nearly ninety works by Robert Rauschenberg from the museum’s permanent collection. Available free of charge through SFMOMA’s website, the catalogue presents a seamless blend of rigorous scholarship and multimedia resources, taking full advantage of its online format to bring together a wealth of new and existing documentation and related materials. Comprising more than 500 images, videos, and research materials, the Rauschenberg Research Project represents the largest research effort the museum has ever devoted to a single artist: its print equivalent would have totaled more than 600 pages.

The publication includes nineteen essays dedicated to individual artworks or series written by leading Rauschenberg scholars, including:

Sarah Roberts, Andrew W. Mellon Foundation Associate Curator of Painting and Sculpture at SFMOMA and director of the Rauschenberg Research Project. Roberts has spent four years engaged in intensive archival research, conducting interviews with studio assistants, friends, and colleagues of the artist and collaborating with SFMOMA’s conservation staff. She contributed six essays, including assessments of White Painting [three panel] (1951), Erased de Kooning Drawing (1953), and Collection.
Susan Davidson, senior curator for collections and exhibitions at the Solomon R. Guggenheim Museum. Davidson was a curatorial advisor to the artist from 2001 until his death in 2008. She is currently a board member of the Robert Rauschenberg Foundation and has produced numerous exhibitions and publications on the artist. For the Rauschenberg Research Project, she wrote on Mother of God (ca. 1950), one of Rauschenberg’s earliest surviving paintings.
Branden W. Joseph, Frank Gallipoli Professor of Modern and Contemporary Art in the Department of Art History and Archaeology at Columbia University and founding editor of the journal Grey Room. For this project, Joseph contributed an essay on Postcard Self-Portrait, Black Mountain (II) (1952).
Jeffrey Saletnik, assistant professor in the Department of the History of Art at Indiana University, Bloomington. Saletnik’s research interests include the history and theory of pedagogy and the relationships between visual arts and music. He has published extensively on John Cage; for the present publication he authored the essay on Trophy IV (for John Cage) (1961).

Caitlin Haskell | Assistant Curator | Painting + Sculpture
chaskell@sfmoma.org | P: (415) 357-4159 | F: (415) 947-1123