Robert RAUSCHENBERG, Ringer Enlarge 1 /1


United States of America 1925 – 2008

Ringer 1974 Description: Ringer (from Hoarfrost editions)

Collection Title: Hoarfrost editions
Title Notes: RR74-686
Materials & Technique: prints, planographic, stencil, collage offset lithographic and screenprinted images transferred to a collage of fabrics and paper bag Support: cheesecloth, China silk, silk, satin, paper bag
Impression: artist proof V
Edition: edition of 31, plus 10 artist's proofs; 5 trial proofs; right to print; printer's proof II; 3 Gemini impressions; Master proof; Change, Inc. impression
Publisher: GEMINI G.E.L.
Place Published: Los Angeles
Date Published: 1974

Edition Notes: Offset printed image of mounds of pigment transferred to cheesecloth; offset and screenprinted image of bull and offset printed image of shell transferred to satin, cheescloth, and China silk; satin, cheesecloth, China silk, and paper bag glued with acrylic polymer matte medium; newspaper imagery transferred to layers of fabric including cheesecloth and China silk; comics imagery transferred to cheesecloth, satin, and China silk. The two holes at the top right and top left were machine-stitched to accommodate nails for hanging. Collaboration by Ronald McPherson. Processing and proofing by Robert Bigelow, Daniel Freeman. Printing by Robert Bigelow assisted by Edward Hamilton, Edward Henderson, Anthony Zepeda.
Primary Insc: signed, upper left, black ink 'Rauschenberg' dated, upper left, black ink ' 74'
Secondary Insc: inscribed, upper left, black ink 'AP V'
Tertiary Insc: RR 74-686
Dimensions: panel 177.8 h x 91.4 w cm
Acknowledgement: Purchased 1976
Accession No: NGA 76.1511
Image rights: © Robert Rauschenberg/VAGA. Licensed by Viscopy

The Hoarfrost editions series, created at Gemini GEL, is named after the thin layer of ice that forms on cold surfaces. The series was inspired by  Rauschenberg’s observation of printmakers using ‘large sheets of gauze ... to wipe stones and presses ... and hung about the room to dry’. By using transparent layerings of material, Rauschenberg allows the viewer to both look at and look through the work − to see both the positive space and the negative space, including the environment behind the work. Everyday objects, such as collaged paper bags, are in sophisticated contrast with the ghostly imprinted imagery and the folds and layers of the delicate fabric.

Text © National Gallery of Australia, Canberra