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Robert Rauschenberg did the same in his Combines of found stuff and sensual paint.
In contrast to the combines of Europe, independent firms developed the U.S. research-oriented chemical industry.
The great Pop alchemist radically redefined American art, perhaps most famously by blurring the boundary between painting and sculpture in his breakthrough "combines" of the late fifties and early sixties.
Who else do the 50s "combines" of the great American artist Robert Rauschenberg, call to mind but Schwitters? (After seeing an exhibition of Schwitters's work in 1959, Rauschenberg said: "I felt like he made it all just for me").
Schwitters, who was also an innovative poet and a pioneer of installation art, developed an anti-conventional aesthetic that proved endlessly fecund — blooming, for example, in Robert Rauschenberg's "Combines" of the nineteen-fifties.
Not to exaggerate the comparison, but it is possible to see the small assemblages in Paul Lee's first New York solo show as heirs to Robert Rauschenberg's early sculptural "combines" of the 1950s.
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We accept the combining of international architects with local engineers.
And so the Scouting Combine of Peyton Manning rolled on.
They evolve out of a formal process: the combining of shapes and colors.
They accused him of tolerating syncretism, the combining of Christian and non-Christian views.
Surface and decoration were everything in this combining of dance and new-media design.
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