Rauschenberg's Goat

Robert Rauschenberg, the irrepressibly prolific American artist who time and again reshaped art in the 20th century, died on Monday night at his home on Captiva Island, Fla. He was 82.
Mr. Rauschenberg’s work gave new meaning to sculpture. “Canyon,” for instance, consisted of a stuffed bald eagle attached to a canvas. “Monogram” was a stuffed goat girdled by a tire atop a painted panel. “Bed” entailed a quilt, sheet and pillow, slathered with paint, as if soaked in blood, framed on the wall. All became icons of postwar modernism.
A painter, photographer, printmaker, choreographer, onstage performer, set designer and, in later years, even a composer, Mr. Rauschenberg defied the traditional idea that an artist stick to one medium or style. He pushed, prodded and sometimes reconceived all the mediums in which he worked.
Building on the legacies of Marcel Duchamp, Kurt Schwitters, Joseph Cornell and others, he helped obscure the lines between painting and sculpture, painting and photography, photography and printmaking, sculpture and photography, sculpture and dance, sculpture and technology, technology and performance art — not to mention between art and life.(more from nytimes)