Case Study: The use of assemblage and the found object in historical and contemporary art practice.
The origins of the practice of assemblage can be traced back to its early twentieth century roots based on ideas presented by Dadaists. The Dada movement was a literary and artistic movement during the First World War and further developed as a non-art movement. The main idea of Dada was to not follow a uniform rule of what an artwork entails in order to be valued. This movement was significant in the development and history of art as it challenged society with new ideas therefore provoking change in our perspective of what can be classified as aesthetically pleasing and all the possibilities of what art is.
Also, the emergence of Dadaism occurred when the world was in an affluent, strong, materialistic and consumer oriented mindset and was created out of the frustration and pain felt by young artists provoked by a revolt against the horrors of war. By their governments allowing such barbarism to take place, they then adapted beliefs in opposite to those implemented onto them: For example, in a time where impressionism was celebrated as influenced by realism, romanticism, baroque and renaissance movements, Dadaists disregarded past influences and made their own art from whatever was considered non-artistic.
The Dadaists stood for anything that wasn’t classified as art due to criticism of this war and created non art by using Shock Art to capture the attention of viewers at the time. The Dadaists would use vulgar words, scatological humour, visual puns and found objects to create non artistic pieces. This generated reactions of offence and shock by society at the time and therefore achieved its purpose, which was to provoke an emotional reaction from an audience. A clear example of this is represented in Marcel Duchamp’s ‘L.H.O.O.Q’ where the artist has painted moustache on a copy of the Mona Lisa.
This became one of the most... [continues]
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