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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.
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]
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.
The choice of this date, Bastille Day, was important to Ball as it carried significance as a protest to World War I. In this manifesto, Ball begins by giving diverse definitions of the word "Dada" in multiple languages. He continues to introduce the movement's own definition of "Dada" by boldly asserting that "Dada is the heart of words."
[2] [3] Its origins within the history of art are evidenced by such work as Leonardo Da Vinci's "A cloudburst of material possessions" [4] which depicts the artist taking a stand against the materialist status quo. [5] Goya's Black etchings 1812–15 depict almost documentary evidence of actual war depravities. Both examples display the art of ...
Raoul Hausmann (July 12, 1886 – February 1, 1971) was an Austrian artist and writer. One of the key figures in Berlin Dada, his experimental photographic collages, sound poetry, and institutional critiques would have a profound influence on the European Avant-Garde in the aftermath of World War I.
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.