I decided to do my first response paper on the topic of dada art (pages 1148-1152). This art form in my opinion is the most conversial art form ever in America’s history and greatly interests me due to the misconception about this art form. With artists such as Marcel Duchamp, Raoul Hausmann, and Hans Arp, these artists show the complexity and un-guide lined art that is called data art. With this new form of art, people had no idea how to react to something that was not known as art for so many years but meaningless scribbles until the 20th century. I’m going to give you a little history and perspectives in this type of art, known as dada art. You will understand why this art form is much speculated to not be an art form but something that is being portrayed as “anti-art”. With similar acts of great self-expression shown throughout history, always comes some form of hate towards these expressions. Georges Hugnet the author of The Bulletin of the Museum of Modern Art Vol. 4, No. 2, Dada and Surrealism states that, “Dada is ageless, it has no parents, but stands alone, making no distinction between what is and what is not.” “It approves while denying, it contradicts itself, and acquires new force by this very contradiction.”
The origin of dada art is said to be created by Romanian poet Tristan Tzara, yet Richard Huelsen and Hugo Ball had discovered the name dada by randomly by plunging a knife into a dictionary repeatedly. Dada was an international signifier of negation, which this art took the almost proven factor out of art. This art is not just paintings or sculptures, instead with things like vandalized Mona Lisa’s, a broken toilet, paintings that directly insult politician leaders. This art form took on an impression of its own for its time. Such works, in their willful denial of the artist’s aesthetic sensibilities, were considered by many used to thinking of art in more serious, high-minded terms as “anti-art”. With many artists that attempted dada art,...
Please join StudyMode to read the full document