Solomon R. Guggenheim Museum

Transcript: Megan Fontanella: This painting is Gabriele Münter “Still Life with Queen” an oil on canvas from 1912. Gabriele Münter often combined unrelated objects from her private world in her paintings, as in the “Still Life with a Floating Puppet”, her Queen, and framed behind a vase of flowers. Gifted to her by the Russian dancer Alexander Sakharov, the puppet takes on a life like presence. Wi...

Senior Paintings Conservator Julie Barten takes a look at how this work was created.

Explore how Rauschenberg blurred the lines between mediums, embracing experimentation and the unpredictable “magic” of printmaking to create works that constantly expand beyond any single technique.

Understand generativity and Rauschenberg's role in the field.

Hear from Noam Segal, the LG Electronics Associate Curator, who oversees technology-based art at Guggenheim New York. Hear from Noam Segal as she introduces Rauschenberg as a generative artist.

Senior Curator Joan Young talks about Rauschenberg's lasting legacy.

See how this small 1952 collage reflects Rauschenberg’s Morocco travels and his use of humble materials, layering printed fragments onto the cardboard from laundered shirts.

Senior Curator Joan Young talks about Rauschenberg's extensive history with the museum.

See how Rauschenberg’s newspaper and magazine transfers blur drawing and print, revealing hidden dates and sources that can be traced through tiny fragments of text embedded in the work.

Noam connects contemporary AI to Rauschenberg’s Revolver, tracing a shared logic of generative systems, interaction, and distributed authorship across art and technology.

Discover how Rauschenberg used newspaper rubbings, solvent transfers, and inkjet prints to pull everyday imagery into layered works grounded in an age-old printmaking tradition.

Grounded in Rauschenberg’s belief that art operates between art and life, this section contrasts the open, experimental technological culture of E.A.T. with today’s opaque AI systems. It reflects on how generativity—and artistic agency—changes when technology becomes inaccessible.

Senior Curator Joan Young on the centerpiece of the exhibition. Barge, which was executed in a 24-hour period, is the largest of the series of 79 silkscreen paintings the artist made from October 1962 until June 1964. While its imagery is devoted primarily to transportation and transportation-related structures—freeways, trucks, spacecraft, radar, etc.—the painting is bargelike in its scale and di...

Senior Curator Joan Young discusses the significance of "Untitled (Red Painting)"

Senior Curator Joan Young introduces Robert Rauschenberg: Life Can't Be Stopped

Senior Paintings Conservator Julie Barten gives an inside look at how "Barge" traveled from Bilboa to New York.

See how Rauschenberg’s newspaper and magazine transfers blur drawing and print, revealing hidden dates and sources that can be traced through tiny fragments of text embedded in the work. Transcript: One of the early pieces you see walking into the gallery is a work called Yellow Body; it has a yellow rectangle in the center. Looking at that at first, you'd say, okay, it's all this graphite pencil...

Explore with Senior Conservator for Works on Paper and Photographs Jeffrey Warda, how Rauschenberg blurred the lines between mediums, embracing experimentation and the unpredictable “magic” of printmaking to create works that constantly expand beyond any single technique. Transcript: I'm Jeffrey Warda. I'm the Senior Conservator for Works on Paper and Photographs at the Guggenheim, New York. I sta...

See how this small 1952 collage reflects Rauschenberg’s Morocco travels and his use of humble materials, layering printed fragments onto the cardboard from laundered shirts. Transcript: There's a small work in a case, the only work in the case in the gallery called Untitled (Hotel Bilbao). This is from 1952. You might think it's related to the Guggenheim Bilbao, but actually not at all. If you loo...

With Jeffrey Warda, discover how Rauschenberg used newspaper rubbings, solvent transfers, and inkjet prints to pull everyday imagery into layered works grounded in an age-old printmaking tradition. Transcript: One of the most accessible ways of making a print, maybe for him, was what we call transfer drawings. And if anyone remembers holding a newspaper up until the 70s, the more you read that new...

Transcript: Gabriele Münter’s international journeys heightened her visual acuity and, in 1908, precipitated what she later described as a “great leap forward” in her artistic language. That summer, fresh from traveling extensively in Tunisia and Europe, including more than a year in Paris, Münter returned to her native Germany. She soon encountered the market village of Murnau am Staffelsee, in t...

Transcript: Gabriele Münter often sketched small observational portrait drawings. It was a practice she began as a young art student and continued through the end of her life. In the 1920s, in fact, she wrote that the sketchbook was her friend, and it was often sitting at a cafe or on her travels throughout the various cities that she inhabited that she would return to people as her subject matter...

Transcript: Gabriele Münter (1877–1962) was at the forefront of experimental art in Europe during the first half of the twentieth century. As she tested the potential and limits of visual communication, Münter found inspiration in her everyday world. She revitalized the traditionally lesser-regarded genres of landscape, still life, and portraiture, unlocking their capacity for radical originality...

Transcript: Throughout her career, Gabriele Münter painted people within lived spaces. These interior scenes focus less on the identities of the figures than on psychological states. She often combined the distinct features of known models with universal human characteristics, and at times juxtaposed figures and objects so that they merged into a pseudo still-life tableau. In doing so, she not on...

Transcript: Gabriele Münter frequently drew from her immediate surroundings and objects of personal significance for her still-life paintings. Yet not all is as it seems: she altered spatial relationships, disrupted scale, and blurred the boundaries between artifact and living presence. The tantalizing appearance of unfamiliar or incongruous elements sparks curiosity and prompts questions, leading...