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Sidetrack – Robert RauschenbergAnnika GunnarssonPublished online: 10 May 2007.

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Sidetrack � Robert Rauschenberg

Annika Gunnarsson

R O B E R T R A U S C H E N B E R G S E E M S to

make no significant distinction between

painting, sculpture, drawing, and prints.

They are modes of expression that he com-

bines. Printing methods and techniques are

found in many of his works. And it is in a

portfolio of prints by various artists, One Cent

Life , that Rauschenberg first entered the print

collection of the Nationalmuseum, Stock-

holm (which transferred its holdings of

modern and contemporary prints to the

Moderna Museet’s collection in 1998). Ac-

cording to the registrar’s receipt, the museum

bought the work from Galerie Rudolf Zwir-

ner, Cologne, 28 August 1964 . Today, the

Moderna Museet has about thirty works by

Rauschenberg in its collection, the majority

being graphic works.1 Rauschenberg’s print

production totals around eight hundred,

providing the artist with a sound economic

base.2 Since 1962 , he has worked with

various printers, including Universal Limited

Art Editions (ULAE), Gemini G.E.L., and

Graphicstudio.3 In 1971 he started his own

studio, Untitled Press, Inc., together with

Robert Petersen.

Already in the 1940s, while at Black

Mountain College, Rauschenberg developed

an interest in prints and photography. The

first prints he made were a series of woodcuts

entitled This is the First Half of a Print

Designed to Exist in Passing Time (ca.

1949). The idea was to successively cut lines

into a piece of wood until, in theory, only a

white page remained (hence the title). He also

began to experiment with so-called blue-

prints, using the chemist Thomas Wedg-

wood’s (1771 �1805) discovery that images

can be fixed on any object through the use of

light, heat, and chemicals. He placed various

objects on light-sensitive paper and then

exposed them to light, which allowed him

to develop out forms. It is a slow process.

First, a dark silhouette appears; it becomes

clearer upon being washed and appears as a

light form on a dark ground. Susan Weil

(married to Rauschenberg from 1950 to

1952) introduced him to the technique,

which her grandmother had taught her.

Rauschenberg developed the process for art-

works as well as for commercial uses, such as

window displays. He made the final of this

latter sort in 1955 with Jasper Johns under

the pseudonym Matson Jones (Matson from

Rauschenberg’s mother’s maiden name, and

Jones from Johns). The difference between

what Rauschenberg and Weil produced and

earlier, similar photographic work lay in the

scale of the works. After a few attempts in a

smaller format, they began working with

images of the human body at a 1 :1 scale.

Rauschenberg would later return to this size

and subject matter in his series Booster and 7

Studies . In 1951 , Life magazine published an

article on the working process for the blue-

prints (9 April); and the Museum of Modern

Art in New York presented one of the works

in its exhibition Abstraction in Photography

#Taylor & Francis 2007 ISSN 0023-3609 K O N S T H I S T O R I S K T I D S K R I F T 2 0 0 7 , V O L 7 6 , N O 1 � 2

D O I : 1 0 . 1 0 8 0 / 0 0 2 3 3 6 0 0 7 0 1 3 4 9 3 3 0

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(2 May�4 July) as an example of innovative

photography.4 In total, about twenty to thirty

blueprints were made, of which only a few

still exist, including Female Figure (Blueprint)

(ca. 1949). A photograph of the work is

included in the Combine Odalisk (1955 �58).

Rauschenberg destroyed many of the blue-

prints in what he called »an act of aesthetic

housekeeping.«5

Between 1959 and 1960 (a period of

eighteen months), Rauschenberg made a

series of thirty-four Combine-drawings for

Thirty-Four Drawings for Dante’s Inferno . He

started the project when he was 35 years old,

the same age as Dante when he began writing

the poems. Rauschenberg used a technique

called solvent-transfer, which can be de-

scribed as a combination of tracing and

rubbing with a solvent as the active agent.

After soaking a newspaper cut-out or some

other printed material in the solvent,

Rauschenberg would lay it on top of a paper

and then rub on the back of the image with

an empty ball-point pen. Depending on the

amount of solvent used and the amount of

pressure applied, he could control whether

the print impression came out strong or faint.

The images could be more or less clear, but

were always fully legible. The drawings repeat,

like an echo of the flood of images encoun-

tered daily, but without any attempt to

recreate a new visual world. Rauschenberg

appropriated images from a mass-media

visual language (which his contemporaries

saw as equivalents of how images are techni-

cally created for television), where the in-

dividual image is undermined through the

process of mass production, but which in

these works become discrete and unique

isolated prints within a series. Men in uni-

forms (athletic uniforms, space suits), as well

as sports cars and dogs seem to emphasize

something powerfully manly. In Canto XXXI:

The Central Pit of Malebolge, The Giant , this

emphasis is all the greater owing to the

presence of three beefy weightlifters on an

Olympic prize-podium. Soft earthy colors

and pastels with pure accents of red, orange,

and pink enclose and insulate the layers of

images. The series went on exhibition for the

first time at a special exhibition at the Leo

Castelli Gallery, New York, in December

1960 . In 1963 , an anonymous buyer pur-

chased them and donated them to the

Museum of Modern Art in New York.

The Moderna Museet’s archives contain

correspondence between MoMA and the

Moderna Museet regarding a possible loan

of the Dante drawings that had been pre-

sented in the show Robert Rauschenberg:

Paintings, Drawings, and Combines 1949 �1964 .6 The show toured to different loca-

tions, including the Whitechapel Gallery in

London (February-March 1964), which pro-

duced a catalogue of the show. On 15 May

1964 , Waldo Rasmussen, executive director

of the International Circulating Exhibitions at

MoMA wrote, offering the Moderna Museet

» . . . two very unusual small exhibitions

which I think would be of particular interest

to you.«7 Carlo Derkert, assistant curator,

answered on 15 June 1964 , expressing the

museum’s interest in the Rauschenberg ex-

hibition. Rasmussen wrote back on 29 July

1964 : »We shall send you full documentation

on the show and catalogue material about

three months in advance of your opening

date.« On 9 November 1964, curator Karin

Bergkvist Lindegren wrote to Rasmussen

requesting the catalogue material. The mu-

seum wanted to show it to a Dante expert in

preparation of organizing a show centered on

Rauschenberg and Dante. According to a

letter from Rasmussen dated 26 January

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1965 , the catalogue material had been sent on

December 3. No catalogue survives in the

museum’s archives. However, a document in

Swedish exists for a text that relates to the

content of each canto as well as a short

description of each of the works. The Konst-

biblioteket, Stockholm (the Art Library), has

a copy of Rauschenberg: XXXIV Drawings for

Dante’s Inferno by Robert Rauschenberg

(1964). It is a facsimile of all the Dante

illustrations plus an accompanying text with

comments by Dore Ashton. An edition of

three hundred copies was made, signed by

Rauschenberg. Seven different supplementary

lithographs, Plank , Mark , Sink , Ark , Kar,

Rank , and Prize (1964) were randomly

distributed throughout the editions, one per

volume. On 26 May 1965, the print from this

volume, Prize , was transferred to the print

collection of the Nationalmusuem. The litho-

graph is signed and numbered in pencil. The

accessions catalogue of 1965 describes the

print as »Composition with fragments of

different pictures (advancing soldiers, people

outside a burning house, intertwined rings, a

group of people, classical ornamentation,

etc.).«8

Several of Rauschenberg’s works incorpo-

rate fragments of everyday life into an artistic

context while retaining their commonplace

associations. The profane element of

people, various modes of transportation (bi-

cycles, cars, airplanes), animals (cats, dogs,

birds, goats), and even weapons are accentu-

ated through interpolation and the visual-

conversation qualities in the works. The

Fig. 1. Robert Rauschenberg. Prize, 1964. Moderna Museet, Stockholm. – Robert Rauschenberg/ Untitled Press,

Inc./ BUS 2007.

62 A N N I K A G U N N A R S S O N

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pictorial elements cast out in all directions, as

though a pile of interesting material had been

tugged at from every which way. There is a

steadfast sense of structure and organization,

and in a way Rauschenberg can be described

as a classically schooled artist, while his

chosen working process, images, and content

bear witness to a path away from classicism.

Within Rauschenberg’s works lies a breaking

point between aesthetic attraction and the

ground-breaking new, which spans between

praxis and theory.

+

The combination of American Pop art and

European expressionism in One Cent Life

provides this artist book its essence.9 Earlier

livres d’artistes , that is, books produced in

smaller, limited editions, primarily featured a

single artist’s work. One Cent Life articulates a

new visual investigation. Twenty-eight differ-

ent artists are united symbolically through an

expressionist method of printing in the

brilliant colors of Pop art. The individual

expression of each artist is drawn out in the

synthesis of text and images. The book was

printed in an edition of 2 ,100 copies, with a

deluxe edition of one hundred copies printed

on hand-made paper, with each print signed

and numbered. Of these, twenty were desig-

nated for New York, twenty for Paris, forty for

the rest of the world, with the remaining

twenty reserved for the artists and others

involved in the project. Walasse Ting wrote

the text, which he began writing already in

1961 without any financial backing. Western

and Eastern influences mix in the texts, which

consists of short sentences that often express

disjointed ideas. Sam Francis edited the book

and financed the paper; Eli Kornfeld pub-

lished the work and contributed material and

personnel.1 0 Rauschenberg’s print is a com-

position predominantly in blue, concentrated

on the work’s left side with red, black, blue,

and some small touches of yellow on the right

side.

Throughout Rauschenberg’s artistic pro-

duction, his works have been linked with

historical and political events, such as the

work Untitled (First Apollo Landing) (1965),

and Ozone (1991), its title drawing attention

to a contemporary societal concern. In Story-

line I and Love Zone (1968) (from Reels (B�/

C) , a series of six color lithographs) the

primary source of inspiration comes from

Arthur Penn’s film Bonnie and Clyde , which

starred Warren Beatty (a good friend of

Rauschenberg’s) and Faye Dunaway in the

leading roles. Rauschenberg had access to

stills from the movie, which he then had

printed in pink, green, blue, and yellow so as

to contrast each other. The entire process,

from preparing the images for lithography,

printing trial proofs, and the actual printing

itself took sixty-four hours. The series devel-

oped from a number of studies Rauschenberg

made for the cover of Time magazine 8

December 1967. An article in the issue,

»The Shock of Freedom in Films«, focuses

on the film Bonnie and Clyde and the desires

of contemporary film audiences: » . . . a seg-

ment of the public wants the intellectually

demanding, emotionally fulfilling kind of

film exemplified by Bonnie and Clyde«.1 1

The message of the article seems relevant

not only to the film, but to Rauschenberg’s art

as well, in a sense bridging the gap between

these media.: »[B]ut what matters most about

Bonnie and Clyde is the new freedom of style,

expressed not so much by camera trickery as

by its yoking of disparate elements into a

coherent artistic whole � the creation of unity

from incongruity.«1 2

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Although Rauschenberg does not necessa-

rily having a connection to the chosen

subject-matter of his works, they seem to

possess a refined system of references that

reveal inspiration gained from and an affinity

for other artists and art. Rauschenberg cre-

ated the lithograph Homage to Frederick

Kiesler (1966) as his contribution to an

exhibition held in honor of the artist Kiesler

and for the benefit of the mentally handi-

capped. The work reveals an interesting

connection between the two artists, both of

whom repudiated history and contemporary

trends in order to create something new.

Frederick Kiesler (1890 �1965), philosopher,

artist, and designer, worked with the project

Fig. 2. Robert Rauschenberg. Storyline, 1968. Moderna Museet, Stockholm. – Robert Rauschenberg/ Untitled

Press, Inc./ BUS 2007.

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Fig. 3. Robert Rauschenberg. Homage to Frederick Kiessler, 1964. Moderna Museet, Stockholm. – Robert

Rauschenberg/ Untitled Press, Inc./ BUS 2007.

S I D E T R A C K � R O B E R T R A U S C H E N B E R G 65

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»Endless House Project« for most of his

career. He rejected the static, rectilinear, glass

spaces that dominated architecture of the

1950s. The Endless House was his vision of

a free-formed space that brought together

people, painting, sculpture, and architecture

in a seamless whole with no beginning and

no end. While Kiesler became a visionary

dreamer of amorphic-shaped building ele-

ments, Rauschenberg became the critical

contemporary ironist who fused past and

present pictorial elements within a somewhat

rectilinear albeit well-composed and unified

image. Even this print is comprised of bold

colors (orange, blue, green, and pink) that

compositionally unite the image. His strength

lies in the ability to always combine the

technique, material, and expression into a

synthesized whole.

Making prints together with a printer

demands the ability to cooperate, which

Rauschenberg viewed as a challenge to be

embraced. The working relationship between

the artist and the printer is the crucial

element that results in the production of a

print or a series of prints that then reach a

wider audience. In January 1966, Kenneth

Taylor, together with Sidney Felsen and

Stanely Grinstein, founded Gemini G.E.L.

Tyler wanted to recruit the best artists to

print with him. To Rauschenberg he said that

the size of the paper would be no problem,

thus encouraging the artist to create a life-size

self-portrait, which would result in Booster

(1967). First he went to the Kaiser Medical

Group to be x-rayed, naked except for a

pair of boots.1 3 Final preparation of the

work included the inclusion of photographic

Fig. 4. Robert Rauschenberg. Torso, 1967. Moderna Museet, Stockholm. – Robert Rauschenberg/ Untitled Press,

Inc./ BUS 2007.

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elements as well as direct application of

tusche and crayon onto the lithographic

stone. Because of the size of the work

(182 .9 �/90 .2 cm), the job required two

stones, one placed after the other, and a piece

of paper pulled through the press twice to

create the final image. The complicated

procedure, together with the combination of

lithography and silkscreen techniques for

creating a print on hand-made paper, en-

hanced Tyler’s reputation as a master printer.

Rauschenberg’s daring move transformed

prints from being primarily only reproduc-

tions to being unique works on par with

innovative and large-scale paintings. (During

the 1960s Rauschenberg had worked with

silkscreen for the purpose of transferring

photos to canvas.) Booster was, at that time,

the largest hand-pulled print ever prepared,

and it is still considered by many to be a

ground-breaking work for twentieth-century

graphic work.

The Moderna Museet owns Test Stone 7

(1967), a print in a horizontal format, where

the head, lungs, back, and parts of the upper

legs are horizontally printed in various gray

tones. It is the last of the seven prints that

constitute the studies, in a smaller format, for

Booster. Each of the prints in the series repeats

some pictorial element from the previous

print (Test Stone 7 repeats the wheel in Test

Stone 6 ), and Booster includes something

from each of the seven studies. A number of

incomplete impressions were saved and used

in other works, for example, in Autobiography

(Broadside) (1968). Broadside Art Inc. was a

publishing project for visual journalism and

information in billboard poster formats.

Rauschenberg’s work was intended to be a

seventeen-foot long print, which was too

large for mass production. The work consists

of three parts, with Rauschenberg’s skeleton

superimposed over his horoscope, a wheel,

and an umbrella forming the upper section.

The middle section has a photo from his

childhood surrounded by an autobiographi-

cal text formed as a spiral around the

photograph, giving the impression of a

fingerprint. The lower section includes a

photo from the dance performance Pelican

of 1963 , with a silhouette of New York placed

on its side to the left of it.

+

Rauschenberg participated as both artist and

organizer for New York Collection for Stock-

holm . In September 1972 the organizers of

the project (a separate board within Experi-

ence in Arts and Technology, E.A.T.) decided

to produce a portfolio of lithographs and

silkscreens to finance the project. Thirty of

the participating artists donated one work

each, which were then printed at Styria

Studios in an edition of 300 signed and

numbered portfolios; each carried the mini-

mum cost of $3,000 .1 4 For $4,000 , the buyer

could get a personal copy and donate a

further copy, in the donator’s name, to a

museum or library of choice. A total of 175

portfolios could be used to raise funds. Of the

edition of 300 , 125 had already been sold or

been used as payment or gifts in exchange for

works for the New York Collection for Stock-

holm.1 5 A letter from Billy Kluver to Max

Gold relates the exchange-value per portfolio

as $1,500 .1 6 A handwritten document from

June 1971 � made from a conversation

between Billy Kluver, Bjorn Springfelt, and

Anna Rappe � notes that the artists received

one portfolio plus an additional twenty-five

impressions of their individual prints.1 7 A

final report preserved in the archives of the

Moderna Museet states that the cost for the

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Fig. 5. Robert Rauschenberg. New York Collection for Stockholm, 1973. Moderna Museet, Stockholm. – Robert

Rauschenberg/ Untitled Press, Inc./ BUS 2007.

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portfolios amounted to $64,389 . It also notes

that those not exchanged out or sold were to

be turned over to an art dealer to be sold.

Monies raised from the sales should be placed

in a fund to pay travel costs for the artists and

other debts, since in May 1974 it was clear

that expenses by that time exceeded the thus-

far collected funds.1 8 Earlier information

indicates that art dealers were prepared to

pay $900 to $1,250 per portfolio.1 9 In a letter

to Tom Andersson, A.H. Grafik, Stockholm,

Billy Kluver offered A.H. Grafik twenty-two

portfolios, for a price of $1,000 per portfolio,

and exclusive rights within the Nordic coun-

tries, with a possible option for an additional

ten portfolios. The letter also notes that those

who donated more than $5,000 would

become Patrons of the Collection; for

amounts less than this, they would be Spon-

sors. Anderson already had an hors commerce

portfolio for review, but it was to be returned

in accordance with the agreement made with

the artists.2 0

The Moderna Museet’s portfolio is kept in

a mahogany box from Honduras. According

to Julie Martin (Kluver’s wife), only a limited

number of boxes were made, owing to the

rarity of mahogany. Additionally, Rauschen-

berg designed a cardboard cover to the

portfolios. Except for a few copies in E.A.T.’s

archive, all of the portfolios are in the hands

of various owners, many of them having

ended up in museums in the United States.2 1

Rauschenberg’s print from the portfolio is

based on a study for Monogram (1955 �59).

It is a less interesting print compared with

others in his rich production, but since

Monogram is the museum’s best-known

work, the connection seems natural. The

print includes sketches of the goat with

various calculations all over the sheet.

Rauschenberg also participated in The New

York Collection with Mud Muse (1968 �71),

donated to E.A.T. via Teledyne, Inc. Also of

interest are stationary cards in the museum’s

archive printed with the words »YES I WANT

A PORTFOLIO« in Rauschenberg’s hand

style, plus a poster he made for the Stockholm

show. In September 1973, the works from the

portfolio were shown at Castelli Graphics,

New York.2 2

+

The last accession of Rauschenberg’s work for

the print collection came eight years later, in

1981 : Steel Arbor, from »Rookery Mounds«

(1979), based primarily on personal photo-

graphs. Rauschenberg has continued to reg-

ularly produce prints even in the twenty-first

century. He brings his skill as well as his

passion to images used in public spheres,

which differ from the more specialized inter-

pretative discourses of the art world. He

continues to collect objects, images of events

and people, and to bring in readymade

material, which he then recontextualizes and

repeats, sometimes functioning like quotes,

but more often like rebuses (which is also the

title of a Combine of 1955 ). The titles are a

part of the works, like a final layer that is

fused with the conceptual and visual.2 3 The

fragmented but well-composed elements in

his works were initially novel, but with

today’s increased familiarity with a faster

and more diverse flow of images, an accept-

ance and even a receptivity for these sorts of

works has changed. Where one earlier per-

ceived abstract and equivocal associations,

this is now replaced with an appreciation of

an aesthetic, sober, and well-balanced art,

which, via the print works, can reach a

broader audience. And his contemporary

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graphic work still includes movement, which

was best realized in his Automobile Tire Print

of 1953 . In one stroke, this work combines

action painting with a monotype, and a

vigorous treatment with a more conceptual

approach or, as Rosalind Krauss writes,

» . . . it was also a way of finding an opera-

tional means of producing extension«, which

is symptomatic for Rauschenberg’s entire art

production.2 4

The various prizes Rauschenberg won ear-

lier in his career are interesting in this

context. In 1963 he won first prize at the

Fifth International Biennial of Graphic Art in

Ljubljana for the print Accident (1963).2 5

The title of the work derives from problems

encountered with the lithographic stone used

to make the work. The first stone cracked as

did the second stone, too; but Rauschenberg

decided, nonetheless, to use the stone avec

break and the ensuing marks visible on the

print. The accidents within the process fur-

nished the final results. The following year

Rauschenberg won the grand prize at the

Venice Biennale. Torsten Renqvist writes:

The Americans dominated with bold strokes

and nothing but promise. They presented

immense canvases. Rauschenberg had been

primed for the grand prize. I showed copper

prints, works that, in the thus depicted context,

looked puny. They stuck out in that respect.

Much to my surprise, I won a prize. »You

should be able to do works just as big and just

as exciting things as us Americans. If you want

to. No bad feelings, but why then are you doing

such fly-shit?« (asks Alfred Leslie, USA, who

participated with four-meter paintings).2 6

Pontus Hulten served as the commissioner

for the Swedish entry and focused on a

younger generation of artists. Renqvist wasn’t

the exhibition commissioner’s choice, but,

together with the painter Torsten Andersson

and the sculptor Martin Holmgren, he was

invited to exhibit painting. Renqvist felt the

company to be too similar and and at first

turned down the offer; but he then re-

thought the proposal and requested to exhibit

prints instead.2 7

Rauschenberg also chose to forge his own

way, boycotting the Venice Biennale in 1970

in protest against the war in Cambodia. He is

at once an enigmatic person who is outgoing

and not afraid to be seen. The sensitive artist

who works on a large scale and constantly

tests the wind, the technical virtuoso, the

politically active artist, the savvy artist who

financially backs various global projects �they are all tracks leading to the same person:

Robert Rauschenberg

Translated by Kathryn Boyer

Endnotes1 . Prints by Robert Rauschenberg in the Moderna Museet

collection: MOM/2001 /334 Caucus , 1997 ; MOM/

2004 /100-104 Graphics at Automation House , 1971

(Tom Gormely, Red Grooms, Robert Withman, Andy

Warhol, Marisol Escobar, Robert Rauschenberg) (pos-

ter); MOM/2004 /114 Untitled ; 1968 , MOM/2004 /115

9 Evenings: Theatre and Engineering , 1966 (poster);

MOM/2004 /1 17 New York Collection for Stockholm ,

1973 , (poster); MOM/2004 /125 Art Cash , 1971 ; MOM/

2005 /589 R(etourne) , 1965 ; MOM/2005 /590 Five New

York evenings , 1964 (poster); NMG 1 /1981 Steel Arbor,

from the series Rookery Mounds, 1979 ; NMG 233 /1973

Works by Artists in the New York Collection for Stockholm ,

1973 ; NMG 571 /1970 Love-Zone (Reels B�/C), 1968 ;

NMG 63 /1969 St. Louis Symphony poster , 1968 ; NMG

60 /1969-62 /1969 Autobiography , 1968 ; NMG 64 /1969

Homage to Frederick Kiesler , 1967 ; NMG 65 /1969

Guardian , 1968 ; NMG 83 /1969 Test Stone 7 , 1967 ;

NMG 322 /1968 Storyline 1 (Reels B�/C), 1968 ; NMG

98 /1965 Prize , 1964 ; NMG 226a/1964-226b/1964

from One Cent Life , 1964 .

2 . Ruth E. Fine, »Writing on Rocks, Rubbing on Silk,

Layering on Paper«, Robert Rauschenberg: A Retrospec-

tive , Guggenheim Museum, New York, 1997 , p. 377 .

3 . Deborah Wye, Thinking Print: Books to Billboards, 1980-

1985 , The Museum of Modern Art, New York, 1996 ,

p. 145 .

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4 . »Speaking of Pictures: Blueprint paper, Sun Lamp, a

Nude Produce some Vaporous Fantasies«, Life , No. 15 ,

Vol. 30 (9 April 1951), p. 23 .

5 . Robert Rauschenberg: Prints 1948 /1970 , exh. cat., Min-

neapolis Institute of Arts, Minneapolis, 1970 , n.p.

6 . »Handlingar rorande utstallningsverksamhet, Robert

Rauschenberg: infernoillustrationerna 20 /3 � 19 /4 ,

1965«, Stockholm, Moderna Museet Archive.

7 . The second show was Orozco: Studies for a Mural .

8 . Accession Catalogue, 1965 , Collections of Prints and

Drawings, Nationalmuseum, Stockholm

9 . Participating artists in One Cent Life : Reinhoud d’Haese,

Jim Dine, Sam Francis, Alfred Jensen, Asger Jorn, Alfred

Leslie, Joan Mitchell, Walasse Ting, Pierre Alechinsky,

Jean-Paul Riopelle, James Rosenquist, Tom Wesselmann,

Karel Appel, Enrico Baj, Alan Davie, Oyvind Fahlstrom,

Robert Indiana, Allan Kaprow, O.K. (Francis) Kiki, Roy

Lichtenstein, Claes Oldenburg, Mel Ramos, Robert

Rauschenberg, Antonio Saura, Kimber Smith, K.R.H

Sonderborg, Bram van Velde, Andy Warhol.

10 . Riva Castleman, A Century of Artists Books , The Museum

of Modern Art, New York, 1995 , pp. 40 �41 , 208 �209

11 . »The Shock of Freedom in Films«, Time Magazine ,

8 December 1967 [electronic article] p. 2 of 10 :

http://www.time.com/time/magazine/article/

0 ,9171 ,844256-2 ,00 .html, accessed 21 January 2007.

12 . »The shock of Freedom in Films«, p. 3 .

13 . Compare with Meret Oppenheim’s X-ray of M.O.’s Skull ,

1964 .

14 . Participating artists in the portfolio: Lee Bontecou,

Robert Breer, John Chamberlain, Walter De Maria, Jim

Dine, Mark Di Suvero, Oyvind Fahlstrom, Dan Flavin,

Red Grooms, Hans Haacke, Alex Hay, Donald Judd,

Ellsworth Kelly, Sol Lewitt, Roy Lichtenstein, Robert

Morris, Louise Nevelson, Kenneth Noland, Claes Old-

enburg, Nam June Paik, Robert Rauschenberg, Larry

Rivers, James Rosenquist, George Segal, Richard Serra,

Keith Sonnier, Richard Stankiewicz, Cy Twombly, Andy

Warhol, Robert Whitman; The New York Collection For

Stockholm Final Report, 12 August 1974 , p. 3 : Stock-

holm, Moderna Museet Archive, F1 :68 A.

15 . Document from Experiments in Art and Technology, 1

May 1973, dated by hand in the upper right corner 1 /5 �73 : Stockholm, Moderna Museet Archive, F1 :68 A.

16 . Letter from Billy Kluver to Max Gold, 20 November

1974 : Stockholm, Moderna Museet Archive, F1 :68 A.

17 . Stockholm, Moderna Museet Archive, F1 :70 C.

18 . The New York Collection For Stockholm Final Report, 12

August 1974 , p. 3 : Stockholm, Moderna Museet Archive,

F1 :68 A.

19 . Document from Experiments in Art and Technology, 1

May 1973, dated by hand in the upper right corner 1 /5 �73 : Stockholm, Moderna Museet Archive, F1 :68 A.

20 . Letter from Billy Kluver to Mr. Tom Andersson, 26 April

1973 : Stockholm, Moderna Museet Archive, F1 :68 A.

21 . Mail correspondence between Annika Gunnarsson and

Julie Martin 1 January 2007, Annika Gunnarssons’s

private letters.

22 . Correspondence card: Stockholm, Moderna Museet

Archive, F1 :69 B; The New York Collection For Stock-

holm Final Report, 12 August 1974 , p. 5 : Stockholm,

Moderna Museet Archive, F1 :68 A.

23 . Esther Sparks, Universal Limited: A History and Cata-

logue: The First Twenty-Five Years , The Art Institute of

Chicago, Chicago, 1989 .

24 . Rosalind Krauss, »Rauschenberg and the Materialized

Image«, in Joseph W. Brandon (ed.), Robert Rauschen-

berg , October, Files 4 , MIT Press, Cambridge, Mass.,

2002 , p. 53 .

25 . William S. Lieberman, then curator of prints and

drawings at the Museum of Modern Art New York,

was one of the jury members, see Ruth E. Fine, 1997 ,

p. 118 , note 12 .

26 . Mailis Stensman, Torsten Renqvist , Stockholm, 2002 ,

p. 116 .

27 . Stensman, 2002 , p. 1 12 ff.

Annika Gunnarsson

Moderna Museet

Box 16382

SE-103 27 Stockholm

E-mail: a.gunnarsson@modernamuseet.se

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