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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.
66 A N N I K A G U N N A R S S O N
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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: [email protected]
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