Download E-books Robert Rauschenberg's Queer Modernism: Decoration, Theatricality and Camp in the Combines, 1953--59 PDF

By Thomas Frederick Folland

Robert Rauschenberg's painted, sculptural assemblages of discovered items, photographic reproductions, print and upholstery fabrics have afflicted artwork heritage of their refusal to yield any coherency of shape or that means. Monogram , 1955-59, is without doubt one of the final of Robert Rauschenberg's major "Combines," and it's no exception: it really is an outlandish concoction that includes a filled angora goat squeezed via a rubber tire and status on a wooden platform of collaged fabric. it sort of feels to be, in reality, a comic story. The paint-smeared snout of the goat is attribute of the gestural abstraction of the recent York college, yet instead of flattened out onto an expanse of canvas, the brushwork is the outermost element of a really theatrical and heterogeneous assemblage of chanced on gadgets. may possibly it now not be argued, even though, that this "joke" may actually be a part of a bigger problem to modernism that constituted whatever way more critical? That problem is argued in my dissertation to be a queer critique of the tradition of modernism within the postwar decade of the 1950s.

The higher aim of this dissertation is to re-read mid-century modernism and its narratives that experience coalesced round this era. Navigating during the predominate strands of Rauschenberg scholarship, this dissertation seeks to problematize the mostly postmodern interpreting of Rauschenberg, within which his work's seeming illegibility has lengthy been visible as a critique of modernist illustration. however it additionally questions the new new wave of artwork heritage that has sought to find fastened constructions of homosexual id in Rauschenberg's paintings via a conventional iconographical process. Mobilizing either the questions of illegibility and identification, Rauschenberg's inventive perform is outlined queerly as a kind of resistance to dominant modes of subjectivity inaugurated during the painterly discourse of the recent York college. Weaving the tropes of decorativeness, theatricality and a camp aesthetic via a variety of and overlapping groupings of Combines produced in the course of the Nineteen Fifties, Rauschenberg's modernism is redefined as a queer one.

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