In the early 1960s, Robert Rauschenberg dedicated himself to a different kind of image-making, one that involved photographic transfer onto canvas. It was the birth of his celebrated series of Silkscreen Paintings which anticipated the post-modernist idea of appropriation, later one of the protagonist techniques of Pop art. What’s interesting is that in 1964, after he won the International Gran Premio for Painting at the Venice Biennale, the artist promptly phoned home to order that all of his remaining silkscreens be destroyed, to end the series.
Barbara Diamonstein-Spielvogel conducts a wonderful conversation with Robert Rauschenberg and Leo Castelli in 1977.
From the Diamonstein-Spielvogel Video Archive in the Duke University Libraries.