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Changing the subject: Robert Rausche...

Mullin, Diane Alison.

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Changing the subject: Robert Rauschenberg and "the new American art".

紀錄類型:	書目-語言資料,印刷品 : Monograph/item
正題名/作者:	Changing the subject: Robert Rauschenberg and "the new American art"./
作者:	Mullin, Diane Alison.
面頁冊數:	278 p.
附註:	Chairperson: Angela Miller.
Contained By:	Dissertation Abstracts International60-04A
標題:	American Studies -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=9926451
ISBN:	0599262044

Changing the subject: Robert Rauschenberg and "the new American art".
Mullin, Diane Alison.

Changing the subject: Robert Rauschenberg and "the new American art". - 278 p.

Chairperson: Angela Miller.

Thesis (Ph.D.)--Washington University, 1999.

“Changing the Subject: Robert Rauschenberg and ‘The New American Art’” is a focused investigation of Rauschenberg's earliest work (made and shown between 1951 and 1953). Revising the traditional art historical view of this work, the dissertation establishes its difference from the ideas and products of Abstract Expressionism, or the “new American art,” as it was constructed in the late 1940s and early 1950s. Abstract Expressionism, the dominant art discourse in postwar America, asserted the primacy of the individual, authoritative, and expressive artist in the production of the art work's meaning. Postwar American cultural discourse elevated this model of art making to the level of sign for American freedom and democracy. Rauschenberg's early work—far from ignored—was used by this dominant art and cultural discourse to circumscribe the limits of the new American art.

ISBN: 0599262044Subjects--Topical Terms:

1260272
American Studies

Changing the subject: Robert Rauschenberg and "the new American art".
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520 $a Putting Rauschenberg's work in the context of this dominant discourse, the dissertation argues that from the beginning of his artistic career, Rauschenberg used the semiotic mode of the index, or the model of photography, and the idea of collaboration to experiment with alternatives to the expressionist model of art making. Rauschenberg's alternative model allowed for multi-vocality through its acknowledgment of the roles of the object of representation and the viewer in the production of meaning. Offering new readings of the work, the dissertation asserts that Rauschenberg's work represents an alternative model of an American modern art that was based not on the assertion of the heroic individual but rather on the idea of active and inclusive participation as sign for a truly democratic art
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