and so rauschenberg learned that from albers.met cage and cunningham a little bit before, but he worked with them together to create performance work. charlie: he was close to jasper johns? leah: there were partners from 1954 through 1961. they were together in a creative and romantic partnership you'd a push each other in many ways. in working together, they left the rest of the world behind. they had permission to try things. rauschenberg once wrote that i would give him an idea and he would have to give me one too. they would play a game of thinking out loud and critiquing each other's work. in the show, you have jasper johns' painted bronze, and you have rauschenberg work in the same vein. charlie: why did they split? leah: i can tell you the answer -- can't tell you about that. charlie: no one has written about that? leah: no, but i know they had an incredible formative impact. partnerships of our time. charlie: who ultimately did he have a great collaborative relationship with? leah: his first was with an artist who became

rauschenberg learned that from albers.t cage and cunningham a little bit before, but he worked with them together to create performance work. modern dancing. charlie: he was close to jasper johns? leah: there were partners from 1954 through 1961. they were together in a creative and romantic partnership, and each other in a incredible ways. it is one of those artistic duos that in working together, they left the rest of the world behind. they gave each other permission to do things and to try things. rauschenberg once wrote that i would give him an idea and he would have to give me too. one, they would play a game of thinking out loud and critiquing each other's work. in the show, you have jasper johns' painted bronze, and "untitled," and you have rauschenberg work in the same vein. you can see they are contemplating cans and consuming them. charlie: why did they split? leah: i can tell you the answer -- can't tell you the answer about that. charlie: no one has written about that? leah: now, i don't know the answer to that

according to rauschenberg, he spent weeks erasing it.e used many erasers and then did nothing with it, he put it in a drawer. two years later when jasper johns was in his life, it was johns that persuaded him to exhibit it. johns made the label at the bottom. charlie: this is called "automobile tire print." rauschenberg and cage. leah: they are living in fulton street. he calls his friend, the composer john cage, and asked him to bring his model a ford. he lays out 20 sheets of typewriter paper on the ground glued together. he has cage drive through a pool of ink and a very straight along the paper to create this image. he laughed later that kate was printer and press. charlie: the next is called "charlene." leah: this is an extraordinary image. begin to an idea of what rauschenberg's revolution was. he wants to create art that lets the world in. first he put scraps of paper and comics, but soon enough it's a lightbulb in, reflectors, a mirror, all the stuff of the world. i think he is saying that if you want to make art about the real w

rauschenberg would show that the feelings he had were being conveyed by the music. it can be even more interactive. what if the actors arrive nude, or given the fact they don't want to be arrested, semi-nude and rolled on the floor in heaps of embracing bodies? what does this convey about people? what does this mean, or perhaps saying something about the oneness of humanity? or maybe it is people rolling around on the floor. what if the audience is invited to join on the rolling of the floor? what will that do? the audience members have to make a decision at that point. are they a separate audience watching what is going on or are they participants in the process and how much participation do they want to have? do they want to engage or not? this is shifting everything on the audience away from the performers. what if the floor was covered in the trip paper -- covered in the chair -- covered in butcher paper and then covered in paint and then the rolling bodies are covered in paint? what if they are rolling around even more and begin to randomly paint the paper by m