His profession shows much more about the New York art local community. His attitude when it comes to the means of art expanded to media, people, almost everything. Rauschenberg launched art to: engineers, socialites, All-About-Eve assistants, politicians, trade unions, dancers, instant collectors, Utopians, scientists, foundation swingers, art groupies, and all rubbed shoulders with all the incongruous elements in his art. This abundant mixture seemed to validate the desire populists often have: that the limits of art are wearing down.
He transported the day when fashion compelled the art community to get along with him – until that moment in 1964 when Rauschenberg received the grand prize at the Venice Biennale. They institutionalized his irony, which Rauschenberg maintained to leave open and naive through the elimination of process and introducing a facade of subject matter. Subject matter, which Rauschenberg had evidently shown was not incompatible with aesthetic discipline. When the subject theme was the every day item, the irony was built into the surface. It was not just the item that became subject matter but the application of commercial design as subject matter. The fact that the design appeared to be modern ended up being one of the things which made Pop groundbreaking.
His technique has been sometimes known as "Neo Dadaist." Rauschenberg wanted to work "in the gap involving art and life", between art objects and every day objects. Rauschenberg took a stride in exactly what could have been regarded as the opposite course by means of championing the role of creator in making art's meaning. His works of art were starting to incorporated not just found objects but found pictures as well – images transferred to the canvas through the silkscreen process. Silkscreen assisted Rauschenberg to handle the number of reproducibility of photographs.
In 1984, Rauschenberg launched his Rauschenberg Overseas Culture Interchange (ROCI), at the United Nations. This culminated a seven year, ten nation tour in order to motivate "world peace and understanding," through Mexico, Chile, Venezuela, Beijing, Lhasa (Tibet), Japan, Cuba, Soviet Union, Berlin, and Malaysia wherein Rauschenberg left a piece of art, and was influenced by the countries he visited. Works of art, often on reflective materials, as well as drawings, photographs, assemblages and other multimedia have been produced, influenced by these surroundings, which was considered as a few of his best works.
In addition to painting and sculpture, his career included as well substantial input to printmaking and Performance Art. He made "White Paintings," in the tradition of monochromatic painting, whose objective has been to less painting to its most important nature. The Black Paintings just like the White Paintings were accomplished on several sections and were single color works. He had waved from the monochromatic paintings of the White Painting and Black Painting series, to the Red Painting collection. These paintings were put together with diverse types of paint applications of red paint, and with the inclusion of materials like wood, nails, newsprint and other materials to the canvas created complex painting surfaces, and have been forerunners of his well-known Combine collection. His neutrality was of a different order and his awesome identification with the moment far less flawless. At the height of Rauschenberg's powers in the sixties, his splendid effervescence dispensed with any historical excursions as Rauschenberg rode his wave. Yet Rauschenberg's ebullient resolve for fine art as a short-term venture never really disposed of the fact that he was an educated artist.
