DADAISM

DADAISM (1916-1923)

it was an idea, a kind of “anti-art”, predicated on nihilist (from the Latin word nihil, meaning “nothing”).

A protest against the bourgeois nationalist which many Dadaists believed was the root cause of the war.

An anti-Art for everything that art stood for

To represent the opposite

Historical Background

FACTORS

The post-World War I cultural movement, The political, social and cultural ideas

Influential people

Hugo Ball Jean Arp Francis Picabia Tristan Tzara Marcel Duchamp

Characteristics

Chance and Nonsense

"Ready-Made" Objects

Ephemera and Offense

Irony 

artists

Hans Arp Marcel Duchamp Francis Picabia Marx Ernst Man Ray Kurt Schwitters

Dada Movement  

Max Ernst - At the Rendez-vous of Friends 1922

Seated from left to right: René Crevel, Max Ernst, Dostoievsky, Théodore Fraenkel, Jean Paulhan, Benjamin Péret, Johannes Baargeld, Robert Desnos. Standing: Philippe Soupault, Jean Arp, Max Morise, Raphaël, Paul Éluard, Louis Aragon, André Breton, Giorgio de Chirico, Gala Éluard

Jean Arp

Poet and Sculptor Jean Arp / Hans Arp (16 September 1886 – 7 June 1966) was a German/French sculptor, painter, poet and a founding member of Dadaism.

Marcel Duchamp

(28 July 1887 – 2 October 1968) was a French artist whose work is most often associated with the Dadaist and Surrealist movements.

Considered by some to be one of the most important artists of the 20th century,

Francis Picabia

Francis Picabia (1879-1953)

The drawing Universal Prostitution (1916–19) and the painting Amorous Procession (1917) are typical of his Dadaist phase.

Their association were successfully shocking satires of bourgeois values.

Max Ernst Max Ernst (1891-1976):

Painter, Sculptor, Graphic Artist, Poet

He founded a Dada group in Cologne in 1919.

“Art has nothing to do with taste. Art is not there to be tasted”--Max Ernst

Man Ray

Painter Photographer Man Ray (August 27, 1890 – November 18, 1976),

Born Emmanuel Radnitzky, was an American artist who spent most of his career in Paris, France.

He was a significant contributor to both the Dada and Surrealist movements.

Kurt Schwitters

Kurt Schwitters Collage Artist Kurt Hermann Eduard Karl Julius Schwitters (20 June 1887 – 8 January 1948) was a German painter who was born in Hanover, Germany.

Schwitters worked in several genres and media, including Dada, Surrealism, poetry, sound, painting, sculpture, graphic design, typography and what came to be known as installation art.

art forms PAINTINGS DRAWINGS COLLAGE SOUND READYMADES SCULPTURE VISUAL ARTS LITERATURE THEATRE PHOTOMONTAGE ASSEMBLAGE

mediums PENCIL CRAYON PAPER READYMADES OR FOUND ARTS SCISSORS GLUE prefabricated objects like

stuffed animals, prints of old paintings or photographs and ticket stubs, and other artists caught on

Trousse d’un Da(1920-1921) Jean ArpAssemblage of driftwood nailed onto wood with some remains of the old painting38.7 x 27 x 4.5 cmGeorges Pompidou Center, Paris

(1916-17) Jean Arp Torn and pasted papers on gray paper, 19 1/8 x 13 5/8 inches (48.6 x 34.6 cm)

Fountain, 1917,

white glazed ceramic plumbing fixture and pained signature, readymade porcelain, urinal on its back, 63 x 48 x 35cm

Photograph by Alfred Stieglitz

L.H.0.0.Q

(1919)Rectified readymade, pencil on reproductionchromolithograph7 ¾ x 4 7/8 inches

Francis Picabia, L'Oeilcacodylate, 1921

Medium/Dimension:148.6 x 117.oil on canvas, with collaged photographs, postcards and other papers Meaning/Function:"Cacodylate" is an oily, slightly water-soluble, poisonous liquid compound composed of two chemical groups that has a vile, garlic-like odor and that undergoes spontaneous combustion in dry air. Eye of cacophanous dilation" with its Rabelaisian flatulence and eye-as-asshole

Cut with the Dada Kitchen Knife through the Last Weimar Beer-Belly Cultural Epoch in Germany, 1919, collage of pasted papers, 90×144 cm, Nationalgalerie, Staatliche Museen zu Berlin

Hannah Hoch: Cut with the Kitchen Knife Dada

through the Last Weimar Beer Belly Cultural Epoch of

Germany, 1919-20, photomontage, 3'9 x

2'11

Francis Picabia (French, 1879–1953)"M'Amenez-y"Date:1919-20Medium:Oil on cardboardDimensions:50 3/4 x 35 3/8" (129.2 x 89.8

cm)This work delivers a barrage

ofpuns, transforming the

languageof fine art into one far less

refined.The inscription at the top, Portrait a l’huile de Ricin!

(Portraitwith castor oil), connects castor oil, a foul-

smellingsubstance, with l’huile de lin(linseed oil), the binder used

in oilpaint.

Johannes Baader (German, 1875–1955)The Author of the Book "Fourteen Letters of Christ" in His HomeDate:(1920)Medium:Cut-and-pasted gelatin silver

prints, cut-and-pasted printed paper, and ink on book pages

Dimensions:8 1/2 x 5 3/4" (21.6 x 14.6 cm)June 18–September 11, 2006In this photomontage, Baader presents a photograph of a domestic space in which various Dada ephemera hangs on the wall at upper left. A figure has been cut out of the center of the photograph to reveal the image of Baader's dummy exhibited at the Berlin Dada Fair in 1920. This work is, in fact, a sophisticated self-portrait of Baader in his persona as the "Oberdada," a parody of a high-ranking military figure (ex.Oberleutnant) of the Dada "troupes

George Grosz (American, 1893–1959. Born and died in Germany)

Date:(1920)Medium:Watercolor, ink, pencil, and cut-

and-pasted printed paper on paper

Dimensions:16 1/2 x 12" (41.9 x 30.5 cm)June 18–September 11, 2006The title refers to the artist’s close friend and collaborator John Heartfield, while the face is that of Grosz himself. The figure’s uniform and the drab, spartan surroundings suggest a sanatorium, where both artists spent time: Heartfield in 1915, after having feigned a nervous breakdown during his military service; and Grosz in 1917, after having suffered or simulated mental instability just one month after he was drafted. Pasted fragments of a postcard, including the words "Good luck in [your] new home," serve as a window for the tiny cell. Franz Jung, referred to in the title, was an expressionist writer and founding member of Club Dada.

Sophie Taeuber-Arp (Swiss, 1889–1943)Dada HeadDate:1920Medium: Painted wood with glass beads on wireDimensions:9 1/4" high (23.5 cm)June 18–September 11, 2006The artist referred to this turned-wood sculpture as a portrait, although it betrays no interest in naturalistic, physical resemblance. Instead, the design creates a masklike face that is reminiscent of Oceanic and Northwest Coast Indian artifacts.

Man Ray (American, 1890–1976)Indestructible Object (or Object to Be Destroyed)Date:1964 Medium:Metronome with cutoutphotograph of eye onpendulumDimensions:8 7/8 x 4 3/8 x 4 5/8"

(22.5x 11 x 11.6 cm)Man Ray dated this work 1923, though it was transformed in 1932 when he substituted a photograph of the eye of Lee Miller—a photographer and the artist’s assistant, model, and lover—for the original eye he had use.

To be looked at with one eye, Close to, for almost an hour

Marcel Duchamp

MediumsOil paintSilver leafLead wireMagnifying lens glassOverall height 22 in. (55.8 cm.)A pyramidal shape pointed on a glass surface is titled slightly by the weight of a circle.

Marcel Duchamp, Fresh Widow,

1920

Medium:Miniature French window,

painted wood frame, and panes of glass covered with black leather

Dimensions:30 1/2 x 17 5/8" (77.5 x 44.8

cm), on wood sill 3/4 x 21 x 4" (1.9 x 53.4 x 10.2 cm)

This is a small replica of a traditional

French window. The glass panes are

covered with black leather thatDuchamp insisted "should be

shinedevery day like shoes." With theinscription along the base,

Duchampturned an inanimate French

windowinto an anthropomorphic "FreshWidow," which was, he felt, "an

obviousenough pun."

The Dancer, 1928By Jean Arp, 20 x 15 ½ in. (50.8 x 39.4 cm.) Cord Collage

A small head bulky torso with a circle in the center. The figure’s slight tilt, the position of the left leg, and the upward curve of the right leg create a convincing impression of forward motion. The dancer literally seems to kick up her heel,” which together with the flowing hair evoked by a single strand of string, convincing impression of forward motion and a feeling of movement through space

Conversation II , c. 1922 Francis PicabiaWatercolour and graphite on paper17 7/8 x 23 7/8 inches 45.4 x 60.6 cm)Conversation, made three years later, also links the measurable (the carefully delineated stripes) and the sensual (the nude female torsos).

La Nuit Espangnole, c.1922By: Francis Picabia 

Sizewithout border: 21 x 26.5 in•23.5 x 31.5 in

Nude Descending a Staircase, No. 2, 1912By: Marcel Duchamp Sizewithout border: 15 x 24.5 in•24 x 30 in

Voliere, 1919By: Man RaySizewithout border: 12 x 16 in•16 x 20 in

Ursachen Der Sonne, 1960By: Max ErnstSizewithout border: 21.5 x 27 in•27.5 x 35.5 in

Cut-and-pasted colored and printed papers,cloth, wood, metal, cork, oil, pencil and ink on board36 1/8 x 27 3/4 in. (91.8 x 70.5 cm)The Museum of Modern Art, New York

King playing

with the Queen

Max

Ernst

Bronze

38 ½ in. (97.8 cm.) high at the base of 18 ¾ x 20 ½ in. (47.7 x 52.1 cm.)