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Some art movements though, are labeled "anti-art". The Dada movement is generally considered the first anti-art movement; the term anti-art itself is said to have been coined by Dadaist Marcel Duchamp around 1914, and his readymades have been cited as early examples of anti-art objects. [15]
Dada (sometimes called Dadaism) is a post-World War I cultural movement in visual art as well as literature (mainly poetry), theatre and graphic design.The movement was a protest of the barbarism of the war; its works were characterized by a deliberate irrationality and the rejection of the prevailing standards of art.
The Dada movement has had continuous reverberations in New York art culture and in the art world generally ever since its inception, and it was a major influence on the New York School and Pop Art. Nevertheless, any attempt to articulate solid links between Dada and these movements must be tenuous at best.
In addition to being anti-war, Dada was also anti-bourgeois and had political affinities with the radical left. Dada activities included public gatherings, demonstrations, and publication of art/literary journals; passionate coverage of art, politics, and culture were topics often discussed in a variety of media.
Cabaret Voltaire is the birthplace of the Dada art movement, founded in Zürich, Switzerland, in 1916. It was founded by Hugo Ball and Emmy Hennings as a cabaret intended for artistic and political purposes. Other founding members were Marcel Janco, Richard Huelsenbeck, Tristan Tzara, Sophie Taeuber-Arp and Jean Arp.
Despite her traditional artistic education, she continued until the end of life to create her works using a collage technique that combined clippings of print media. In "Dada - review" different fragments of text and images depict a grotesque political kaleidoscope. The collage is a sectional view of the period after World War I.
Hans Johannes Siegfried Richter (/ ˈ r ɪ k t ər /; German: [ˈʁɪçtɐ]; 6 April 1888 – 1 February 1976) was a German Dada painter, graphic artist, avant-garde film producer, and art historian. In 1965 he authored the book Dadaism about the history of the Dada movement.
Neo-Dada Organizers was formed at a time when Japan was rapidly modernizing after the destruction of World War II.The group positioned themselves in opposition to all established art forms and institutions, especially the strains of humanism and socialist realism that dominated Japanese art circles in the 1950s, [5] but also the recent tendency toward wholesale importation of foreign art ...