Robert RAUSCHENBERG, Scent Enlarge 1 /1


United States of America 1925 – 2008


Scent 1974 Description: Scent (from Hoarfrost editions)

Collection Title: Hoarfrost editions
Creation Notes: Period of Collaboration: September - December 1974. Right to Print date: 20 September 1974
Materials & Technique: prints, planographic, stencil, collage offset lithographic and screenprinted images transferred to a collage of fabric and paper bag Support: silkscreen fabric, silk chiffon, paper bag
Impression: artist proof VIII
Edition: edition of 30 plus 10 artist's proofs, 3 trial proofs, right to print, printer's proof I, printer's proof II, 3 Gemini impressions, master proof, change inc. proof.
Publisher: GEMINI G.E.L.
Place Published: Los Angeles
Date Published: 1974

Edition Notes: Offset printed images of building, balloon, windmill, model trainyard, octopus and newspaper imagery transferred to silk chiffon; paper bags glued to silkscreen fabric with acrylic polymer matte medium; silk chiffon glued between two silkscreen fabric panels with acrylic polymer matte medium. The two holes at the top right and top left were machine-stitched to accommodate nails for hanging. Collaboration and supervision by Ronald McPherson. Processing and proofing by Charles Ritt, Jim Webb, Tony Zepeda. Printing by Barbara Thomason assisted by Edward Henderson.
Primary Insc: signed, lower left, black ink 'Rauschenberg' dated, lower left, black ink ' '74'
Secondary Insc: inscribed, lower left, black ink 'AP VIII'
Tertiary Insc: RR 74-692
Dimensions: sheet a) 222.0 h x 104.2 w cm b 197.5 h x 129.0 w cm mount 212.0 h x 99.0 w cm
Acknowledgement: Purchased 1976
Accession No: NGA 76.1517
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