![]() ![]() With its impressive scale and commanding presence, Booster challenged the dominance of painting as a medium.Īfter witnessing the launch of the Apollo 11 mission to the moon in the summer of 1969, Rauschenberg created his Stoned Moon Series: thirty-four prints produced at Gemini G.E.L. (Graphic Editions Limited), a Los Angeles print workshop known for harnessing new techniques and materials for creative ends, the six-foot lithograph and screenprint was at that time one of the largest hand-pulled lithographs ever made. Booster from 1967 is an innovative self-portrait that features a life-size column of x-ray images representing Rauschenberg's body. Rauschenberg frequently explored modern technology as both a tool and a motif in prints of the late 1960s. He accepted the invitation in 1962, and his relationship with that atelier continues to the present. Publisher Tatyana Grosman of Universal Limited Art Editions (ULAE) on Long Island, New York, was the first to invite Rauschenberg to make prints. Rauschenberg's foray into printmaking was a seemingly natural development, for imprinting-the very essence of printmaking-had long played a role in his work, in the form of fingerprints impressed in his paintings and magazine images transferred to drawings. ![]() Working collaboratively with talented printers, he challenged the limits of methods and materials: rethinking customary approaches to lithography, screenprint, and intaglio adopting new processes such as digital imaging and printing on unconventional papers, cardboard, fabric, and plastic. Rauschenberg's open-ended approach helped steer fine art print studios in new directions. As art historian Leo Steinberg noted, "What he invented above all was.a pictorial surface that let the world in again." ![]() The artist's welcoming of representation back into the avant-garde restored a potent visual vocabulary. Rauschenberg's prints likewise introduced the commonplace in varied forms-a water ring left by a drinking glass, an embossment from a coin, or the traced outline of a walking cane. Nearly a decade earlier he had countered the introspective canvases of abstract expressionism with works he called "Combines," fusions of painting and sculpture that incorporate everyday items and embrace the cacophony of daily life. Beginning in the early 1960s, Robert Rauschenberg (American, born 1925) created painterly prints filled with images he clipped from newspapers and magazines. ![]()
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