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Rauschenberg
continued on to New York City, where he studied
at the Art Students League until 1952. From
then until 1953, he traveled in Northern Africa
and Italy. From the beginning, Rauschenberg's
work contained nontraditional materials, was
exhibited in a nontraditional setting, and refused
categorization.
Although he rejected the serious, self-important,
personal emotionality of the abstract expressionist
painters, his brushwork is expressive and emotive.
His incorporation of mundane objects-such as
bed linens, license plates, or tires-into his
assemblages heavily influenced the growth of
pop art and neo-dadaism in the 1960s, but the
effect is neither banal and cynical like pop,
nor deliberately chaotic and negative like dada.
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