Acknowledgements

First and foremost, I would like to extend my most sincere gratitude to Kenneth Tyler AO, the late Marabeth Cohen-Tyler and the Tyler Charitable Foundation. This exhibition is the result of their generosity and deep commitment to the National Gallery of Australia. Kenneth Tyler has been integral to this institution, as a benefactor supporting curatorial roles and research, and funding publications that explore the rich history of American prints. My gratitude also extends to his role as a master printer. Printmaking is always a collaborative exercise and Robert Rauschenberg and Jasper Johns were able to achieve key works in this exhibition only with the technical expertise, ambition and guidance of Kenneth Tyler.

I would also like to extend my sincere thanks to Nick Mitzevich, Director of the National Gallery of Australia, for the opportunity to curate this exhibition and produce this publication. Nick’s enthusiasm and support for Rauschenberg & Johns: significant others helped guide its production and for this I am grateful. I wish also to express my gratitude to Natasha Bullock, Assistant Director, Artistic Programs, for her ongoing support and guidance during this exhibition’s development. For their commitment to this project, my thanks to Susie Barr, Assistant Director, Marketing and Engagement; Kym Partington, Chief Finance Officer; and Heather Whitely Robertson, Tim Fairfax Assistant Director, Learning and Digital.

I am grateful to work with a brilliant team of people at the National Gallery. My sincere thanks to Sally Foster, Senior Curator, Prints and Drawings, for entrusting me with this project and for her guidance and mentorship; to Shaune Lakin, Senior Curator, Photography, for his guidance and input; and to Jaklyn Babington, former Senior Curator, Contemporary Art for her formative advice and support. To my Kenneth E Tyler Collection colleagues, Kira Godoroja-Prieckaerts, Assistant Curator, and Ruby Rossiter, Curatorial Assistant, thank you for your support during this project. I would also like to thank Keir Winesmith, Head of Digital; Penny Sanderson, Publications Manager; Brittany Burgess, Digital Coordinator; and Eliza Williams and Madison Du, Rights and Permissions Assistants; for helping to guide this publication’s development. My sincere thanks to Linda Michael, the copyeditor for this publication, for bringing her clarity and insights to the essays. To Gary Carsley and Marian Tubbs, thank you for your beautifully articulated responses to the exhibition and insightful art practices. My sincere thanks to Jean-Paul Marin and Matthew Smith from Distil Immersive for their hard work in bringing the first of many digital publications for the Tyler Collection to life.

Thank you to Jing-Ling Chua, Senior Exhibitions Designer, and Aislinn King, Exhibition Designer, for skilfully designing and presenting this exhibition, particularly for Aislinn King's efforts in designing and executing the custom see-through frames and doorframe; to Andrea Wise, Fiona Kemp, James Ward, Micheline Ford, Michelle Hunter, Sarah McHugh and Courtney Crane of the conservation team for their care, patience, and guidance; and to Surya Bajracharya for his exacting mountcutting and help developing custom frames for this exhibition. Sincere thanks to Peter Vandermark and Jane Wild from the exhibitions team for their coordination and planning. Thank you to all the department heads who have committed to this project: Natalie Beattie, Samantha Jones, Marika Lucas-Edwards, Elizabeth Malone, Dominique Nagy, Kanesan Nathan, Maryanne Voyazis and Debbie Ward. My thanks also to Sally Brand, Sophie Tedmanson and Terry Harding for their assistance. Research library staff—Elizabeth Little, Simon Undershultz, Karen MacDonald, and Sam Pym—have been invaluable in assisting my research.

I extend special thanks to my close friends who have helped at key moments in the lead-up to this project, especially Lisa Sammut, Tamara Elkins, Eric Hönig and Dara Gill.

My sincere gratitude to Gina Guy and Francine Schneider from the Robert Rauschenberg Foundation, New York, for their input and research assistance during the development of this exhibition.

Finally, I am indebted to Jasper Johns and the late Robert Rauschenberg for their unique and captivating artistic lives and for the art that they have produced. It has been an honour to write about their achievements in printmaking and the common point of origin for their practices that developed in their relationship and artistic dialogue.

David Greenhalgh
Assistant Curator for the Kenneth E Tyler Collection, Prints and Drawings at the National Gallery of Australia

• The Hon Tony Burke MP, Minister for the Arts and Industrial Relations

• Ryan Stokes AO, Chair
• The Hon Richard Alston AO
• Ilana Atlas AO
• Stephen Brady AO, CVO
• Helen Cook
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• Dr Terri Janke
• Alison Kubler
• Nick Mitzevich, Director
• Nicholas Moore
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• His Excellency General the Hon David Hurley AC DSC (Retd), Patron of the National Gallery Foundation
• Stephen Brady AO CVO Chair
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• Nick Mitzevich, Director
• Geoffrey Pack
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• Penelope Seidler AM
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• Kerry Stokes AC
• Ray Wilson OAM

• Nick Mitzevich, Director
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• Heather Whitely Robertson, Tim Fairfax Assistant Director, Learning and Digital
• Helen Gee, Sophie Hunter, Jennifer Barrett and Kalia Hutchinson, Directorate

• David Greenhalgh, Assistant Curator, Kenneth E Tyler Collection, Prints and Drawings, National Gallery of Australia , National Gallery of Australia

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Header image: Jasper Johns's studio wall during the Fragments—according to what series project, Gemini GEL, Los Angeles, 1971. Kenneth E Tyler Collection archive, NGA Study Collection, © photographer, Malcolm Lubliner