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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.
Like Dada, Merz was characterized by spontaneity and frequently made use of found objects. One of the most significant Merz artifacts constructed by Schwitters is the Merzbau, a tower-sized sculpture assembled from refuse and ephemera that occupied the inside of his apartment and existed from 1927 to 1943, when it was destroyed by a British air raid during World War II.
The Match Seller (German: Streichholzhändler) is a 1920 oil painting with collage elements by the German Dada and Neue Sachlichkeit artist Otto Dix.Completed one year after the end of World War I (then known as the Great War), the composition depicts a crippled and homeless veteran match seller who is ostensibly ignored by bourgeois passersby on a street in Germany.
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.
Cabaret Voltaire is the birthplace of the Dada art movement, founded in Zurich, 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.
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.