Robert RAUSCHENBERGGEMINI G.E.L., Plus Fours Enlarge 1 /1


United States of America 1925 – 2008



publisher (organisation)

Plus Fours 1974 Description: Plus Fours (from Hoarfrost editions)

Collection Title: the 'Hoarfrost editions' series, 1974
Place made: Los Angeles, California, United States of America
Creation Notes: Period of collaboration: September - December 1974 Right to print date: 19 September 1974
Materials & Technique: prints, planographic, stencil, collage offset lithographic and screenprinted images transferred to a collage of fabric Support: silk chiffon, silk satin
Impression: artist proof VIII
Edition: edition of 28, plus 10 artist's proofs; 7 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: Newspaper imagery, offset printed images of an oil drip and the Grand Canyon transferred to silk chiffon; newspaper imagery and offset printed building transferred to silk chiffon; screenprinted image of hang glider transferred to silk satin; offset printed image of buckets transferred to silk satin. The holes at the four corners of each satin piece and at the top right and top left were machine-stitched. Collaboration by Ronald McPherson. Processing and proofing Serge Lozingot assisted by Jim Carlson, Daniel Freeman; screenprinting: B. Hunter. Printed by Serge Lozingot assisted by Jim Carlson, Daniel Freeman, Barbara Thomason.
Primary Insc: signed, upper left, black ink 'Rauschenberg' dated, upper left, black ink ' '74'
Secondary Insc: inscribed, upper left, black ink 'AP VIII'
Tertiary Insc: RR 74-689
Dimensions: overall 170.2 h x 241.3 w cm
Acknowledgement: Purchased 1976
Accession No: NGA 76.1514.A-C
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