Robert RAUSCHENBERG, White walk Enlarge 1 /1


United States of America 1925 – 2008

White walk 1970
Collection Title: the 'Stoned moon' series, 1969-70
Title Notes: 003-027
Place made: Los Angeles, California, United States of America
Materials & Technique: prints, planographic lithograph, printed in three colours Support: Special Arjomari paper
Impression: right to print
Edition: edition of 53 plus 6AP, RTP, PPII, 3GEL, SP, C
Publisher: GEMINI G.E.L.
Place Published: Los Angeles
Date Published: 1970

Edition Notes: Processing and proofing by Kenneth Tyler, edition printing by Daniel Freeman assisted by Andrew Vlady. A three colour lithograph printed from stone, aluminum then stone in blue-green-grey, dark blue and powder blue. Rauschenberg was invited by NASA to observe the launch of Apollo 11 in July 1969. Gemini G.E.L commissioned the artist to do a series of prints based on his observations, a commission which resulted in the 'Stoned moon' series of 33 lithographs. Rauschenberg also made use of photographs and other materials supplied to him by James Dean of NASA.
Primary Insc: signed and dated upper right in pencil 'RAUSCHENBERG 70' inscribed upper right in pencil 'RTP'
Secondary Insc: verso: embossed lower left chops © copyright and Gemini GEL inscribed lower left in pencil 'RR 70-277'
Dimensions: 107.2 h x 74.9 w cm
Cat Raisonné: Gemini GEL (1984) cat.201
Acknowledgement: Purchased 1973
Accession No: NGA 73.1167
Image rights: © Robert Rauschenberg/VAGA. Licensed by Viscopy

In 1969 Rauschenberg was invited by the National Aeronautics and Space Administration (NASA) to witness one of the most significant social events of the decade − the launch of Apollo 11, the shuttle that would place man on the moon. NASA provided Rauschenberg with detailed scientific maps, charts and photographs of the launch, which formed the basis of the Stoned moon series − comprising thirty-three lithographs printed at Gemini GEL. The Stoned moon series is a celebration of man’s peaceful exploration of space as a ‘responsive, responsible collaboration between man and technology’.

The combination of art and science is something that Rauschenberg continued to investigate throughout the 1960s in what he calls his ‘blowing fuses period’.

Text © National Gallery of Australia, Canberra