Robert Rauschenberg

Leo Castelli Gallery, New York
Victor and Sally Ganz, New York (acquired from the above in May 1964)
Christie's, New York, November 10, 1997, lot 39
Acquired by the present owner from the above sale

New York, Leo Castelli Gallery, Robert Rauschenberg Quixotic Polychrome, 1961
Los Angeles, Dwan Gallery, Robert Rauschenberg, 1962
Washington, D.C., Corcoran Gallery of Art, The 28^th Biennial Exhibition of Contemporary Painting, 1963, no. 112, illustrated.
New York, The Jewish Museum, Robert Rauschenberg, 1963, no. 41
New York, Sidney Janis Gallery, String and Rope, 1969, no. 14, illustrated
Bilbao, Guggenheim Museum Bilbao; Cologne, Museum Ludwig; Houston, The Menil Collection, Robert Rauschenberg: A Retrospective, 1998 – 1999
New York, The Metropolitan Museum of Art; Los Angeles, The Museum of Contemporary Art; Paris, Centre Georges Pompidou; Stockholm, Moderna Museet, Robert Rauschenberg: Combines, December 2005 - May 2007, pl. 156

Ed. J.R. Mellon, "The Art World," Arts Yearbook VII, New York, 1964, p. 72, illustrated
Ed. D. Whitney, Leo Castelli: Ten Years, New York, 1967, illustrated
Joachim Jäger, Robert Rauschenberg – Combine Paintings 1960 – 62, Vienna, 1999, p.133 illustrated in color
Robert Rauschenberg: Combines, Steidl, 2005, pl. 156, p. 179, illustrated in color

In 1960 and 1961, Rauschenberg's complexly collaged Combine drawings became more sculptural and painterly. Rigger, from 1961, is  distinct in its gestural and expressive use of pigment. Rigger, which eschews mass-media sources,  confronts the viewer mysterious sculptural elements projecting off the canvas, a technique he had employed in 1959 with Canyon.. Captivating and enigmatic, Rigger, manipulates the inherent tension between the mediums of painting and sculpture to produce a cohesive whole.