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34 Walter Hopps raised the Burri connection with his 1991 exhibition Robert Rauschenberg: the Early 1950s, even as he affirmed that Rauschenberg's early work was "attuned more with the rectilinear figure-ground compositions within Abstract Expressionism. p. 33 Solomon was responsible for Rauschenberg's entry in the 1964 Venice Biennale at which he won the Grand Prize. , mentions the importance of Kurt Schwitters in the catalog accompanying Rauschenberg's first retrospective at the Jewish Museum in 1963.

And why? Overlooked is a very historicized problematic of identity in the context of postwar anxiety over masculinity and its relationship to high culture. Negative reactions to Rauschenberg's work—because it did not fall in line with the New York School -were couched strongly in terms of decadence or immorality. If his work was read as some sort of challenge to normative masculinity, I want to insist that I am not speaking of authorial intent but effect, a queer effect on viewers and critics that sustained the homophobic readings of Rauschenberg's work by his earlier detractors and before the critical Marcia Brennan, Modernism's Masculine Subjects, 5.

The unique and private side of the artist unfolds in both extended biographies and earnest attempts to coax iconographical consistencies out of the broad body of his work... " 7 This schism was noted in a notorious footnote to Rosalind Krauss's essay, included in the Guggenheim retrospective, that re-drew the battle lines first tentatively outlined during the 1980s but sharply focused most notably through the work of Jonathan Katz beginning during the latter part of the 1990s over the issue of Rauschenberg's sexual orientation.

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