against traditional social values‚ especially reason and logic‚ which the Dadaists saw as being morally bankrupt and which had led the world into the destructiveness of World War I. Their answer was to embrace anarchy and the irrational. By seeking the destruction of a flawed value system‚ they believed they could build a new one guided by a more humane outlook. The movement began in 1916 when Hugo Ball recited the first Dadaist manifesto at the Café Voltaire in Zurich. They declared that they had
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3375929 ‘’The Futurists and later the Dadaists used ’live’ performances as one means for expressing their ideas about art and life. Discuss theses ideas making clear why the artists turned to live art. ‘’ ‘Live art’; is a strategy that embraces more than just performance. It is a means of introducing the human presence into the creative practice and often‚ especially in the case of the Futurists and Dadaists‚ with much broader social and political intentions. The Serate evenings of the Futurists
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2. Dada embraced self-expression‚ impulse‚ spontaneity and imagination. Why were these particular qualities appealing to Dadaists as artists and social commentators? Ciaran Bullen. The World at War. To appreciate Dada‚ one must first know the context of its time. To truly understand Dada‚ one must understand the deep pain of the artists‚ the ferocity of the disgust toward the bestiality of their supposedly modern world‚ and the deep longing for change at the hearts of its various contributors
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have prompted many to define Dada as "anti-art"—a term that the Dadaists themselves used. Dada shock tactics‚ however‚ were meant less as a wholesale disavowal of art than as a turning away from conventional understandings of art as illusionistic or transcendental. Art‚ the Dadaists believed‚ should not be an escape from daily events‚ but rather it should make visible the violence‚ chaos‚ and hypocrisies of contemporary life. As the Dadaist Hugo Ball wrote‚ "For us‚ art is not an end in itself . . .
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Caberet 16). In typical Dada hyperbole‚ the manifesto made wild claims about the power of the word Dada and how it indicated a new tendency in art and literature. The manifesto‚ and the many that were written after it‚ identified and combated what the Dadaists saw as the bourgeois corruption that had caused the war and diluted art into something worthless. Through written manifestos‚ Dada poetry and collage‚ wild forms of theater and new ideas on visual art‚ Dada found a common voice among several different
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a member of the berlin Dadaists from 1917 to 1922. (Grosenick‚ 210) The association of Höch with Berlin Dada is rooted in two related causes: her early involvement with the development of photomontage which stands as a visual summa of Berlin Dada’s exuberant condemnation of contemporaneous German society and its wholehearted immersion in the revolutionary chaos of post-Wilhelmine Germany. (Boswell‚ 7) The berlin Dadaists were the first group to fully appreciates that Dadaist strategies held for transforming
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Jessica Brown Final Paper Art 104i Marcel Duchamp “The Fountain” To begin to understand Marcel Duchamp’s specific piece of art “The Fountain” I delved deep into the history behind the Dada movement‚ from which Duchamp thrived. This began with an in depth look at Western Europe during World War I‚ The Dada’s reaction to the World War‚ and more specifically Marcel Duchamp’s reaction to the World War. As stated in the book‚ “no single event influenced the development of modern as profoundly
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Antin’s first twenty years were full of changes in the United States‚ including The Great Depression‚ World War II‚ the Harlem Renaissance‚ Second Wave Feminism‚ The Vietnam War‚ and Third Wave Feminism. Antin was a first generation American born in New York City to Polish Jewish immigrants during the Great Depression. She attended high school in Harlem post-Harlem renaissance‚ (the cultural‚ social‚ artistic movement in late 1930s Harlem‚ NYC). As a result‚ Antin grew up surrounded by different
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1970s. Dadaism was about rebelling against the war‚ they wanted to take the control back and the only way they could was through art‚ Huelsenbeck (2004 pg 17) quoted ‘DADA means nothing. We want to change the world with nothing’‚ it is easy to see Dadaist felt the modern world they were now living in was meaningless and so wanted to reject all traditions‚ especially art tradition‚ so they decided to create non-art which had no meaning to go with the meaningless world‚ they
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With the end of World War I in 1919 came a cloud of confusion and disorientation that settled over the Western world. The war as a whole was a bitter statement of irony‚ as it fell short of all preconceived expectations set by Western society. The prediction of just a few months of war extended into five years‚ and the expectations of glory and fame returned broken by the harsh actuality of war. The expectations created for the war were not consistent with reality; thus‚ as the war ended‚ a state
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