Robert RAUSCHENBERG, Sand Enlarge 1 /1


United States of America 1925 – 2008


Sand 1974 Description: Sand (from Hoarfrost editions)

Collection Title: Hoarfrost editions
Creation Notes: Period of Collaboration: September to December 1974. Right to Print date: 21 September 1974
Materials & Technique: prints, planographic, relief, collage offset lithographic images transferred to a collage of fabric, rubber stamping Support: silkscreen fabric, silk chiffon, pure silk, crepe-back satin
Impression: artist proof V
Edition: edition of 30 plus 10 artist's proofs, 2 trial proofs
Publisher: GEMINI G.E.L.
Place Published: Los Angeles
Date Published: 1974

Edition Notes: Offset printed images of model trainyard, gauges, oil drips and newspaper imagery transferred to silk chiffon. Offset images of green pillow, squeegee hand, ice flowers, newspaper imagery and comic imagery transferred to pure silk crepe-back satin. Silk chiffon and crepe-back satin panels glued to back of screenprint fabric with acrylic polymer matte medium. Screenprint fabric rubber stamped by hand at top, in reverse. Two holes machine stitched at top right and top left to accomodate nails fo hanging. Edition printing by Tony Zepeda assisted by Charles Ritt.
Primary Insc: signed, lower left, black ink 'Rauschenberg' dated, lower left, black ink ' '74'
Secondary Insc: inscribed, lower left, black ink 'AP V'
Tertiary Insc: RR 74-693
Dimensions: a) 184.5 h x 103.7 w cm b) 135.0 h x 60.0 w cm mount 183.0 h x 33.0 w cm
Acknowledgement: Purchased 1976
Accession No: NGA 76.1518
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