Curatorial Document

Reference sheet documenting Robert Rauschenberg's Fossil for Bob Morris and N.Y. Bird Calls for Öyvind Fahlström

Part of Rauschenberg Research Project

  • Reference sheet documenting Robert Rauschenbergs <em>Fossil for Bob Morris</em> and <em>N.Y. Bird Calls for Öyvind Fahlström</em>

    Reference sheet documenting Robert Rauschenberg’s Fossil for Bob Morris and N.Y. Bird Calls for Öyvind Fahlström (both 1965). SFMOMA Curatorial Files 

  • View of Robert Rauschenberg's Sleep for Yvonne Rainer (verso) showing frame hardware and inscription

    Robert Rauschenberg, Sleep for Yvonne Rainer, 1965 (verso). Photo by Ian Reeves, 2013

  • Detail of Robert Rauschenberg's Sleep for Yvonne Rainer (verso) showing signature and inscription

    Robert Rauschenberg, Sleep for Yvonne Rainer, 1965 (detail of verso). Photo: Ian Reeves, 2013

  • View B of Robert Rauschenberg's Sleep for Yvonne Rainer showing an alternate arrangement of the movable elements

    View B of Robert Rauschenberg’s Sleep for Yvonne Rainer (1965) showing an alternate arrangement of the movable elements. Photo: Ian Reeves, 2013

  • View A of Robert Rauschenberg's Sleep for Yvonne Rainer showing an alternate arrangement of the movable elements

    View A of Robert Rauschenberg’s Sleep for Yvonne Rainer (1965) showing an alternate arrangement of the movable elements. Photo: Ian Reeves, 2013

  • Sleep for Yvonne Rainer

    Robert Rauschenberg, Sleep for Yvonne Rainer, Tue Jan 01 12:00:00 PST 2013; mixed media and paper collage with screen print, 84 1/2 in. x 60 1/2 in. x 7 1/4 in. (214.63 cm x 153.67 cm x 18.42 cm); Private collection; © Robert Rauschenberg Foundation / Licensed by VAGA, New York, NY; photo: Ian Reeves


Rauschenberg made Sleep for Yvonne Rainer as part of a series of three 1965 works dedicated to artists with whom he was working closely at the time. The other two works, Fossil for Bob Morris and N.Y. Bird Calls for Öyvind Fahlström, are in the collection of the Hirshhorn Museum, Smithsonian Institution, Washington, D.C., and owned by a private collector, respectively. For further discussion of Rauschenberg’s collaborations with Morris and Fahlström, see note 1 in the essay on Sleep for Yvonne Rainer.