DOCSLIB.ORG

The Art of Teaching and Teaching with Art: Using Avant-Garde Art to Foster Active Learning in the Classroom

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Art of Teaching and Teaching with Art: Using Avant-Garde Art to Foster Active Learning in the Classroom The Art of Teaching and Teaching with Art 49 The Art of Teaching and Teaching with Art: Using Avant-garde Art to Foster Active Learning in the Classroom Chris Mack State University of New York at Oswego Avant-garde art and literature drawn from Dada artists and authors were used to foster authentic learning in a History course. Students read assigned texts to situate the artists and their work in a historical context. They then engaged in a semiotic analysis of dress, viewed and analyzed Dada painting and sculpture, participated in the creation and reading of Dada poems, and considered the question: What is art? As a result, students actively engaged with the ways avant-garde artists challenged traditional ways of knowing and looking at the world and had an opportunity to consider how they can reflect upon, and change, their own views of themselves and their places in the world. _______________________________________________________________________ As every teacher knows, there are uncharted or rarely traveled territory. always new classes to teach, new (p.1-2) approaches to try, new materials to consider; In keeping with that counsel, I and new research that can inform our constantly try to vary the material presented teaching in ways we may never have to my students, including ideas and issues imagined five years, or even a semester, that some might argue are too complex and before. One of the best spurs that I have difficult for the average undergraduate. One found to encourage experimentation and example is the use of modern art in my innovation in my own teaching comes from teaching. Many students are not very an article in The Teaching Professor sensitive to the aesthetic concerns and ideas entitled: "What Makes A Good Teacher?" of much modern and contemporary art. To (Weimer, 1997). As I plan my classes before some, it is terra incognita, a strange, bizarre, each semester, I refer to the article as a way and confusing array of shapes, colors, and to restore my perspective of the teaching styles meant to baffle and elude them. That process and as a continuing challenge to is the perfect place for my class to start! The make my classes as stimulating, learner- students are thrown off balance by the centered, and fun, as they can be. material and their attempts to wrestle with it. Two statements in the article that I Their comfort zone has been breached; they find particularly helpful are, "Good teachers are ready to consider new ideas and take risks" (p.1-2), and "Good teachers try to approaches to not only grasp the material, keep students and themselves off balance" but to use it as a means of re-evaluating their (p.1-2). Weimer goes on to explain: way of looking at art and its place in their When teachers are comfortable, world. complacent, and certain about what But that is only the beginning. In they're doing, they're less likely to be addition, I use modern art in my classes to teaching at their best. The same can be introduce students to the challenge that said of students, who need to face artists and thinkers presented to the Western challenges they aren't quite sure they intellectual and artistic tradition in the late are ready to handle. It's about teachers nineteenth and early twentieth centuries. I and students always moving on to want them to think about the efforts of Journal of Authentic Learning, Volume 2, Number 2, Pages 49-58, 2005 The Art of Teaching and Teaching with Art 50 artists (in this particular case) to question the context, my narrative below describes how received wisdom of painting, photography, these tasks were presented and and thinking in general about art in the accomplished through the course of the West. What were the artists concerned with class. and about? How did they create new responses to the effects of World War I and Historical Background the approach of World War II? How did their ideas reflect other thinkers’ concerns? Germany: 1.8 million dead. France: These questions, among others, preoccupied 1.4 million dead. Russia: 1.7 million dead. our most recent discussions of Dadaism and Austria-Hungary: 1.2 million dead. Great Surrealism. Britain and its Empire: nearly 1 million dead The preparatory material for the (Howard, 2002). Such were the costs of the discussion of Dadaism and Surrealism First World War for just some of the included assigned readings from our class countries involved. In addition, the war had texts, including both primary and secondary far-reaching political effects. It led to the sources from the period, and handouts of dissolution of political systems and Tristan Tzara’s "Dada Manifesto" (1918). In aristocratic monarchies in Germany, Russia, addition, the students were asked to perform and Austria-Hungary. It prompted certain tasks requiring different learning revolutions in Russia and Germany. It approaches and skills designed to activate created new nations in Central and Eastern their active participation in the class. These Europe. And it undermined the old social tasks included: (a) decoding the signs order that had been dominated by hereditary present in the instructor’s attire; (b) viewing aristocracies throughout Europe, replacing it and analyzing Dadaist works of art and with either bourgeois, or in the case of the considering the ideas they advanced which Soviet Union, working class influences. In both reflected their experience of WWI and the midst of such incredible destruction and challenged traditional ideas of art; (c) rapid change, and reminded of it every day actively producing Dada art through the by the memories of friends and family lost manipulation of a "Mona Lisa" handout and and the constant contact with the war’s thoughtful engagement with the Dadaists’ maimed and crippled, Dada was born. The claims regarding the artistic process and its rush by Europe’s citizens to slaughter one historical place in Western culture; (d) another prompted small, but increasingly continuing to consider the Dadaist approach influential, groups of artists in Zurich, New toward the artistic process by watching and York, Paris, and Berlin to band together and critiquing the instructor’s own "tangerine question how such a horrific event could experiment" (explained later) and reflecting have occurred, and been tolerated, in on the question, "What is art?"; (e) engaging supposedly "civilized" Europe. students' attention and reflection through One of the artists who helped found their "performance" or reading of Dada and advance Dada was Richard writings and poetry; (f) fostering Huelsenbeck. He left Berlin in 1916 to go to cooperative learning through the production Zurich, at his parent’s urging, to avoid of a Dada poem by the class; (g) summing military service. His future brother-in-law's up what we learned about Dada and its experience of combat in and around Verdun relationship to the wider society and culture in 1916 and description of his own of Europe in the 1920s. Following a brief wounding in 1917 deepened Huelsenbeck's description of Dadaism and its historical conviction that the war belied all the former Journal of Authentic Learning, Volume 2, Number 2, Pages 49-58, 2005 The Art of Teaching and Teaching with Art 51 Christian virtues Europe had prided itself on after he became disenchanted with the possessing. In a letter, Huelsenbeck's avant-garde art scene in Paris. His painting, brother-in-law described the all too familiar "Nude Descending a Staircase no. 2", rocked horrors of the First World War. As he sat in American audiences at the Armory Show of a tree on observation duty, Huelsenbeck's 1913 with its Cubist-influenced approach to brother-in-law was hit by a grenade: "It was the human body and its movement through like a great wind... a howling that turned space. into a screaming. The howling came from Teaming with another European the projectile, and the screams, I realized expatriate, Francis Picabia (1879-1953), next, came from the wounded. They were Duchamp began to criticize the continued lying around all over the place, with arms allegiance of the artistic mainstream to and legs ripped off and stomachs split open, aesthetic ideas derived from traditional and the chaplains sniffing around them with Classical models. Reflecting the increasing their crucifixes so that they wouldn’t go to mechanization of society, Duchamp and heaven without the blessings of the Picabia created an aesthetic that fused the church..." (Huelsenbeck, 1991, p. 6)., human and the machine. Their experiments According to the Dadaists, these personal produced works such as Picabia’s and national tragedies demanded a "mechano-morphic" drawings and paintings reckoning. What ideas and patterns of and Duchamp’s "The Bride Stripped Bare behavior had led to such desolation? By Her Bachelors, Even (or Large Glass)" The answer, for many, lay in a (Henderson, 1996, p. 228). combination of Western civilization's Duchamp went even farther by traditional beliefs and its faith in and questioning the visual and craft emphasis of reliance on reason, logic, and technology art; instead, he advanced ideas as the most and the cultural and social products and important factor in artistic creation. His relationships derived from them. To the "readymades" like the "Bicycle Wheel" artists who gathered under the label "Dada," (1913) manipulated found objects to realize the war revealed the bankruptcy of all of the his artistic ideas. Duchamp's experiments traditional assumptions about what was true, proved highly influential for future useful, and beautiful. Thus, a thoroughgoing generations of artists, giving credence to the critique, destruction, and rebuilding of claim that Duchamp was the founder of Western civilization had to be undertaken — conceptual art (Hopkins, 2004, p.
Load more

Recommended publications
  • Félix Fénéon, “Neo-Impressionism” (1887) I. Impressionism, Merely
    Félix Fénéon, “Neo-Impressionism” (1887) I. Impressionism, merely latent in Turner and Delacroix (the Chapel of the Holy Angels at Saint- Sulpice), tried to turn itself into a system under Edouard Manet, MM. Camille Pissarro, Renoir, Claude Monet, Sisley, Cezanne and Ludovic Piette. These painters are distinguished by their extraordinary sensitivity to their own reactions to color, by a tendency to decompose tones, and by their attempts to imbue their canvases with intense light: In their choice of subjects, they proscribe history, anecdote and dream, and, as their working method, they promote rapid and direct execution from nature: If we want the word “Impressionism” to have any reasonably precise meaning, we have to reserve this term for the “luminists” alone: This immediately eliminates Miss Mary Cassatt, MM. Degas, Forain and Raffaelli, whom a mistaken public included under the same heading as MM. Camille Pissarro and Claude Monet: although it is true that all of them sought the sincere expression of modern life, scorned the traditions of the schools, and exhibited together. Let us recall the first Impressionist exhibitions: Given the innate stupidity of the public, the idea of choosing between well-finished paintings and wild daubings left them dumbfounded: They found it crazy that a color should produce its complementary, ultramarine giving yellow, red giving blue-green, since all the most learned Physicists would have affirmed in scholarly tones that the definitive effect of darkening all the colors of the spectrum is virtually
    [Show full text]
  • Monet and American Impressionism
    Harn Museum of Art Educator Resource Monet & Impressionism About the Artist Claude Monet was born in Paris on November 14, 1840. He enjoyed drawing lessons in school and began making and selling caricatures at age seventeen. In 1858, he met landscape artist Eugène Boudin (1824-1898) who introduced him to plein-air (outdoor) painting. During the 1860s, only a few of Monet’s paintings were accepted for exhibition in the prestigious annual exhibitions known as the Salons. This rejection led him to join with other Claude Monet, 1899 artists to form an independent group, later known as the Impressionists. Photo by Nadar During the 1860s and 1870s, Monet developed his technique of using broken, rhythmic brushstrokes of pure color to represent atmosphere, light and visual effects while depicting his immediate surroundings in Paris and nearby villages. During the next decade, his fortune began to improve as a result of a growing base of support from art dealers and collectors, both in Europe and the United States. By the mid-1880s, his paintings began to receive critical “Everyone discusses my acclaim. art and pretends to understand, as if it were By 1890, Monet was financially secure enough to purchase a house in Giverny, a rural town in Normandy. During these later years, Monet began painting the same subject over and over necessary to understand, again at different times of the day or year. These series paintings became some of his most when it is simply famous works and include views of the Siene River, the Thames River in London, Rouen necessary to love.” Cathedral, oat fields, haystacks and water lilies.
    [Show full text]
  • With Dada and Pop Art Influence
    With Dada and Pop Art Influence The non-art movement • 1916-1923 • Reaction to the horror of World War I • Artists were mostly French and German. They took refuge in neutral Switzerland. • They were angry at the European society that had allowed the war to happen. • Dada was a form of protest. • It’s intention was to provoke and shock The name “Dada” was chosen because it was nonsensical. They wanted a name that made the least amount of sense. • They used any public forum to spit on: nationalism rationalism materialism and society in general Mona Lisa with a Mustache “The Fountain” “The Bride Stripped Bare by her Bachelors, Even” George Groz “Remember Uncle Augustus the Unhappy Inventor”(collage) Raoul Hausmann “ABCD” (collage) Merit Oppenheim “Luncheon in Fur” Using pre-existing objects or images with little or no transformation applied to them Artist use borrowed elements in their creation of a new work • Dada self-destructed when it was in danger of becoming “acceptable.” • The Dada movement and the Surrealists have influenced many important artists. Joseph Cornell (1903-1972) became one of the most famous artists to use assemblage. His work is both surreal and poetic. A 3-D form of using "found" objects arranged in such a way that they create a piece of art. The Pop American artist, Robert Rauschenberg, uses assemblage, painting, printmaking and collage in his work. He is directly influenced by the Dada-ists. “Canyon” “Monogram” “Bed” “Coca-cola Plan” “Retroactive” • These artist use borrowed elements in their creation to make a new work of art! • As long as those portions of copyrighted works are used to create a completely new and different work of art it was OK.
    [Show full text]
  • What Is Dadaism? Some Explanations and Definitions Dada Was, Officially, Not a Movement, Its Artists Not Artists and Its Art Not Art
    What is Dadaism? Some explanations and definitions Dada was, officially, not a movement, its artists not artists and its art not art. That sounds easy enough, doesn't it? Of course, there is a bit more to the story of Dadaism than this simplistic explanation. Dada was a literary and artistic movement born in Europe at a time when the horror of World War It was being played out in what amounted to citizens' front yards. Due to the war, a number of artists, writers and intellectuals - notably of French and German nationality - found themselves congregating in the refuge that Zurich (in neutral Switzerland) offered. Far from merely feeling relief at their respective escapes, this bunch was pretty ticked off that modern European society would allow the war to have happened. They were so angry, in fact, that they undertook the time-honored artistic tradition of protesting. Banding together in a loosely-knit group, these writers and artists used any public forum they could find to (metaphorically) spit on nationalism, rationalism, materialism and any other -ism which they felt had contributed to a senseless war. In other words, the Dadaists were fed up. If society is going in this direction, they said, we'll have no part of it or its traditions. Including...no, wait!...especially artistic traditions. We, who are non-artists, will create non-art - since art (and everything else in the world) has no meaning, anyway. About the only thing these non-artists all had in common were their ideals. They even had a hard time agreeing on a name for their project.
    [Show full text]
  • Gce History of Art Major Modern Art Movements
    FACTFILE: GCE HISTORY OF ART MAJOR MODERN ART MOVEMENTS Major Modern Art Movements Key words Overview New types of art; collage, assemblage, kinetic, The range of Major Modern Art Movements is photography, land art, earthworks, performance art. extensive. There are over 100 known art movements and information on a selected range of the better Use of new materials; found objects, ephemeral known art movements in modern times is provided materials, junk, readymades and everyday items. below. The influence of one art movement upon Expressive use of colour particularly in; another can be seen in the definitions as twentieth Impressionism, Post Impressionism, Fauvism, century art which became known as a time of ‘isms’. Cubism, Expressionism, and colour field painting. New Techniques; Pointilism, automatic drawing, frottage, action painting, Pop Art, Neo-Impressionism, Synthesism, Kinetic Art, Neo-Dada and Op Art. 1 FACTFILE: GCE HISTORY OF ART / MAJOR MODERN ART MOVEMENTS The Making of Modern Art The Nine most influential Art Movements to impact Cubism (fl. 1908–14) on Modern Art; Primarily practised in painting and originating (1) Impressionism; in Paris c.1907, Cubism saw artists employing (2) Fauvism; an analytic vision based on fragmentation and multiple viewpoints. It was like a deconstructing of (3) Cubism; the subject and came as a rejection of Renaissance- (4) Futurism; inspired linear perspective and rounded volumes. The two main artists practising Cubism were Pablo (5) Expressionism; Picasso and Georges Braque, in two variants (6) Dada; ‘Analytical Cubism’ and ‘Synthetic Cubism’. This movement was to influence abstract art for the (7) Surrealism; next 50 years with the emergence of the flat (8) Abstract Expressionism; picture plane and an alternative to conventional perspective.
    [Show full text]
  • Cubism Futurism Art Deco
    20TH Century Art Early 20th Century styles based on SHAPE and FORM: Cubism Futurism Art Deco to show the ‘concept’ of an object rather than creating a detail of the real thing to show different views of an object at once, emphasizing time, space & the Machine age to simplify objects to their most basic, primitive terms 20TH CENTURY ART & ARCHITECTURE Cubism & Picasso Pablo Picasso 1881-1973 Considered most influential artist of 20th Century Blue Period Rose Period Analytical Cubism Synthetic Cubism 20TH CENTURY ART & ARCHITECTURE Cubism & Picasso Early works by a young Picasso Girl Wearing Large Hat, 1901. Lola, the artist’s sister, 1901. 20TH CENTURY ART & ARCHITECTURE Cubism & Picasso Picasso’s Blue Period Blue Period (1901-1904) Moves to Paris in his late teens Coping with suicide of friend Paintings were lonely, depressing Major color was BLUE! 20TH CENTURY ART & ARCHITECTURE Cubism & Picasso Picasso’s Blue Period Pablo Picasso, Blue Nude, 1902. BLUE PERIOD 20TH CENTURY ART & ARCHITECTURE Cubism & Picasso Picasso’s Blue Period Pablo Picasso, Self Portrait, 1901. BLUE PERIOD 20TH CENTURY ART & ARCHITECTURE Cubism & Picasso Picasso’s Blue Period Pablo Picasso, Tragedy, 1903. BLUE PERIOD 20TH CENTURY ART & ARCHITECTURE Cubism & Picasso Picasso’s Blue Period Pablo Picasso, Le Gourmet, 1901. BLUE PERIOD 20TH CENTURY ART & ARCHITECTURE Cubism & Picasso Picasso’s work at the National Gallery (DC) 20TH CENTURY ART & ARCHITECTURE Cubism & Picasso Picasso’s Rose Period Rose Period (1904-1906) Much happier art than before Circus people as subjects Reds and warmer colors Pablo Picasso, Harlequin Family, 1905. ROSE PERIOD 20TH CENTURY ART & ARCHITECTURE Cubism & Picasso Picasso’s Rose Period Pablo Picasso, La Familia de Saltimbanques, 1905.
    [Show full text]
  • Avant-Gardes in Yugoslavia
    Filozofski vestnik | Letnik XXXVII | Številka 1 | 2016 | 201–219 Miško Šuvaković* Avant-Gardes in Yugoslavia In this study, I will approach the avant-gardes as interdisciplinary, internation- ally oriented artistic and cultural practices.1 I will present and advocate the the- sis that the Yugoslav avant-gardes were a special geopolitical and geo-aesthetic set of artistic and cultural phenomena defined by the internal dynamics and interrelations of the Kingdom of Serbs, Croats, and Slovenes and the Kingdom of Yugoslavia and by the external dynamics, cosmopolitan relations, and inter- nationalisations of local artistic excess and experimentation with international avant-garde practices. I will devote special attention to the local and interna- tional networking of cities as the political and cultural environments where the avant-gardes took place. Above all, the avant-gardes thereby acquired the char- acter of extremely urban artistic and cultural phenomena. Introductory Interpretation of the Concept of the Avant-garde Discussing the status, functions, and effects of any avant-garde does not boil down to asking what phenomenal or conceptual, i.e. formalist, qualities are characteristic of an avant-garde work of art, the behaviour of an avant-garde artist, or her private or public life. On the contrary, equally important are direc- tional questions regarding the instrumental potentialities or realisations of the avant-garde as an interventional material artistic practice in between or against dominant and marginal domains, practices, or paradigms within historical or 201 present cultures. Avant-garde artistic practices are historically viewed as trans- formations of artistic, cultural, and social resistances, limitations, and ruptures within dominant, homogeneous or hegemonic artistic, cultural, and social en- vironments.
    [Show full text]
  • Dada and Surrealist Journals in the Mary Reynolds Collection
    Documents of Dada and Surrealism: Dada and Surrealist Journals in the Mary Reynolds Collection... Page 1 of 26 Documents of Dada and Surrealism: Dada and Surrealist Journals in the Mary Reynolds Collection IRENE E. HOFMANN Ryerson and Burnham Libraries, The Art Institute of Chicago Dada 6 (Bulletin The Mary Reynolds Collection, which entered The Art Institute of Dada), Chicago in 1951, contains, in addition to a rich array of books, art, and ed. Tristan Tzara ESSAYS (Paris, February her own extraordinary bindings, a remarkable group of periodicals and 1920), cover. journals. As a member of so many of the artistic and literary circles View Works of Art Book Bindings by publishing periodicals, Reynolds was in a position to receive many Mary Reynolds journals during her life in Paris. The collection in the Art Institute Finding Aid/ includes over four hundred issues, with many complete runs of journals Search Collection represented. From architectural journals to radical literary reviews, this Related Websites selection of periodicals constitutes a revealing document of European Art Institute of artistic and literary life in the years spanning the two world wars. Chicago Home In the early part of the twentieth century, literary and artistic reviews were the primary means by which the creative community exchanged ideas and remained in communication. The journal was a vehicle for promoting emerging styles, establishing new theories, and creating a context for understanding new visual forms. These reviews played a pivotal role in forming the spirit and identity of movements such as Dada and Surrealism and served to spread their messages throughout Europe and the United States.
    [Show full text]
  • Italian Futurism, Dada & Bauhaus
    Italian Futurism "We shall set in motion the words-in-freedom that smash the boundaries of literature as they march towards painting, music, noise-art, and throw a marvelous bridge between the word and the real object." F. T. Marinetti Futurist Manifesto, published on 5 February 1909 Italian Futurism ● Admired speed, technology, youth and violence, the car, the airplane and the industrial city. ● They were passionate nationalists. ● Dismissed art critics as useless. ● Rebelled against harmony and good taste. ● Swept away all the themes and subjects of all previous art, and glorified in science. The Art of Noise - Russolo's Intonarumori http://www.youtube.com/watch?v=fYYkMux6Dgw Vita Futurista, 1916 The only officially “Futurist” film ever made, “Vita Futurista” was made in 1916 by Arnaldo Ginna and several other Futurist artists, including Giacomo Balla, Remo Chiti, and the founder of Futurism, F.T. Marinetti. Vita Futurista, 1916 Comprised of eleven independent segments conceived and written by different artists. Contrasted the spirit and lifestyle of the Futurist with that of the ordinary man in a series of humorous sketches, “How the Futurist Walks,” “How the Futurist Sleeps,” “The Sentimental Futurist,” etc. Vita Futurista, 1916 Many segments used experimental techniques such as split screens and double exposures. The only-known copy of this film was lost several decades ago. Vita Futurista, 1916 All that remain are written accounts by Ginna and a few still images. Giacomo Balla, 'Dynamism of a Dog on a Leash', 1912 Giacomo Balla, 'Abstract Speed+Sound', 1913-14 Umberto Boccioni, 'Unique Forms of Continuity in Space', 1913 Dada ● Sought to eliminate all forms of reason and logic due to the atrocities caused by World War I ● Born in Zurich in 1916, Hugo Ball, Emmy Hennings, Tristan Tzara, Jean Arp, Marcel Janco, Richard Huelsenbeck, Sophie Täuber, Hans Richter, along with others, discussed art and put on performances in the Cabaret Voltaire.
    [Show full text]
  • DADA Manifesto Berlin April 1918 (Huelsenbeck)
    DADA Manifesto Berlin April 1918 (Huelsenbeck) What did Expressionism want? It " wanted" something, that much remains characteristic of it. Dada wants nothing, Dada grows. Expressionism wanted inwardness, it conceived of itself as a reaction against the times, while Dadaism is nothing but an expression of the times. Dada is one with the times, it is a child of the present epoch which one may curse, but cannot deny. Dada has taken the mechanisation, the sterility, the rigidity and the tempo of these times into its broad lap, and in the last analysis it is nothing else and in no way different from them. Expressionism is not spontaneous action. It is the gesture of tired people who wish to escape themselves and forget the present, the war and the misery. To this end they invented "humanity," and walked versifying and psalmodysing along streets on which the escalators rise and descend and the telephones ring shrilly. The Expressionists are tired people who have turned their backs on nature and do not dare look the cruelty of the epoch in the face. They have forgotten how to be daring. Dada is daring per se, Dada exposes itself to the risk of its own death. Dada puts itself at the heart of things. Expressionism wanted to forget itself, Dada wants to affirm itself. Expressionism was harmonious, mystic, angelic, Baaderish-Superdadaist — Dada is the scream of brakes and the bellowing of the brokers at the Chicago Stock Exchange. Vive Dada! The execution and direction of art depends on the times in which it lives, and artists are creatures of their epoch.
    [Show full text]
  • I See a Future Where Crypto, Nfts, and Blockchain Will Be the Norm, Rather Than the Exception."
    1 “NFTs could act as a catalyst, to help society create the perfect balance between creativity and rationality.” @andreabonac_art (Bison Trails, 2020) 2 Prerelease DRAFT v0.971 Celebrities talk NFTs 5 Basic Tech Concepts 9 What is Fungible and Non-Fungible? 9 Fungible 9 Non-Fungible (NF) 10 What is a Digital Wallet 19 NFT Listing Marketplaces: Should you create your own? 26 Global Marketplace 26 Your Own Marketplace 26 NFT Platform Features 27 What can we do with NFTs? 31 Industries that may be Disrupted by NFTs 67 Art 67 Photography 68 Music 68 Events 68 Sports Memorabilia 69 Redemption Coupons 69 Create an NFT 70 Create your own Marketplace 72 Whitelabel Marketplace Examples 77 Podcasts 77 Fan Clubs 80 Sport Events 82 Consensus Event 83 Music 84 Quick Start to create your own NFT Marketplace 85 Making money from NFTs 87 NFT Energy Consumption 89 NFT Dictionary 90 NFT.NYC Speakers 103 NFT.NYC Partners 113 3 Intentionally Blank 4 Celebrities talk NFTs In early 2021 NFTs gain mainstream traction among prominent artists, public figures, and celebrities. Snoop Dogg “I am excited about it, ya dig?” @SnoopDogg Snoop Dogge Coins NFT Rob Gronkowski "When I was a kid my brothers and I collected every single trading card out there...It's great to be that first athlete to get on NFTs." @RobGronkowski Career Highlight NFT 5 Lindsay Lohan "It's only a matter of time till everyone in Hollywood and beyond gets involved" and also "I see a future where crypto, NFTs, and blockchain will be the norm, rather than the exception." Lindsay Lohan, Actress @lindsaylohan Lightning NFT Paris Hilton “NFTs have literally taken over my entire mind and soul.” @ParisHilton “I’m obsessed.
    [Show full text]
  • Dada-Guide-Booklet HWB V5.Pdf
    DA DA DA DA THE UNIVERSITY OF IOWA LIBRARIES PRESENTS DOCUMENTING DADA // DISSEMINATING DADA THE UNIVERSITY OF IOWA LIBRARIES MAIN LIBRARY GALLERY JANUARY 17 - APRIL 28, 2017 An exhibition featuring items from the UI Libraries' International DADA Archive, the world’s most comprehensive collection of material related to the Dada movement. GALLERY HOURS & COMPLETE EXHIBITION INFORMATION AT LIB.UIOWA.EDU/GALLERY EXHIBITION GUIDE 1 DOCUMENTING DADA // DISSEMINATING DADA From 1916 to 1923, a new kind of artistic movement Originating as an anti-war protest in neutral swept Europe and America. Its very name, “DADA” Switzerland, Dada rapidly spread to many corners —two identical syllables without the obligatory of Europe and beyond. The Dada movement was “-ism”—distinguished it from the long line of avant- perhaps the single most decisive influence on the gardes that had determined the preceding century of development of twentieth-century art, and its art history. More than a mere art movement, Dada innovations are so pervasive as to be virtually taken claimed a broader role as an agent of cultural, social, for granted today. and political change. This exhibition highlights a single aspect of Dada: Its proponents came from all parts of Europe and the its print publications. Since the essence of Dada was United States at a time when their native countries best reflected in ephemeral performances and actions were battling one another in the deadliest war ever rather than in concrete artworks, it is perhaps ironic known. They did not restrict themselves to a single that the dadaists produced many books and journals mode of expression as painter, writer, actor, dancer, of astonishing beauty.
    [Show full text]