What Is DADA Movement: Zurich, Origin of the Word Dada, Conclusion
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In Conversation with Adam Pendleton: What Is Black Dada?
In conversation with Adam Pendleton: What is Black Dada? Awa Konaté James Baldwin once said, ‘we used to think of history as the realm of the settled as an inalterable past, as a nightmare. That was the legacy bequeathed us by the past century’s catastrophes. But while we can never redeem what has been lost, versions of the past are forever being reconstructed in our fabrication of the present.’1 Although Baldwin enumerated these words in 1972, today’s volatile political moments and relations reminds us that the past is repeatedly embedded, and evermore so, in our present sphere. Baldwin comments on the interrelations between past and present realities as a continuum of cultural and historical notions that constitute the very materiality of our social fabric as ever persistent, suggesting the past is never past but an ongoing rupture in the present. Adam Pendleton is an artist whose unwinnable and complex layered practice is exceptionally occupied with Baldwin’s declarative statement. With a career spanning nearly two decades, Pendleton has situated the intersections of race, belonging, cultural politics and art history as varying constructions that are rearticulated and imposed in the very centre of our ‘Contemporary’ – not merely in order to inquire ‘how’ and ‘what if’ but to push the very logic that constitutes their historical and social functions. My first encounter with Adam Pendleton was his large ‘Black Lives’ banner at the Venice Biennale’s Belgian pavilion in 2015.2 The context was stupendous, the banner’s dominating and large scaled presence appeared to almost ‘devour’ the white cubed pavilion by forcing the centrality of its race relations. -
Religious Symbolism in Salvador Dali's Art: a Study of the Influences on His Late Work
East Tennessee State University Digital Commons @ East Tennessee State University Undergraduate Honors Theses Student Works 5-2012 Religious Symbolism in Salvador Dali's Art: A Study of the Influences on His Late Work. Jessica R. Hawley East Tennessee State University Follow this and additional works at: https://dc.etsu.edu/honors Part of the Fine Arts Commons Recommended Citation Hawley, Jessica R., "Religious Symbolism in Salvador Dali's Art: A Study of the Influences on His Late Work." (2012). Undergraduate Honors Theses. Paper 34. https://dc.etsu.edu/honors/34 This Honors Thesis - Open Access is brought to you for free and open access by the Student Works at Digital Commons @ East Tennessee State University. It has been accepted for inclusion in Undergraduate Honors Theses by an authorized administrator of Digital Commons @ East Tennessee State University. For more information, please contact [email protected]. ’ A t: A Study of the Influences on His Late Work Thesis submitted in partial fulfillment of Honors By Jessica Hawley The Honors College Fine and Performing Art Scholars Program East Tennessee State University April 6, 2012 Dr. Scott Contreras-Koterbay, Faculty Mentor Dr. Peter Pawlowicz, Faculty Reader Patrick Cronin, Faculty Reader Hawley 2 Table of Contents Preface 3 Chapter 1: ’ Ch h 4 Chapter 2: Surrealism 7 Chapter 3: War 10 Chapter 4: Catholicism 12 Chapter 5: Nuclear Mysticism 15 Conclusion 18 Images 19 Bibliography 28 Hawley 3 Preface Salvador was an artist who existed not long before my generation; yet, his influence among the contemporary art world causes many people to take a closer look at the significance of the imagery in his paintings. -
The Origins and Meanings of Non-Objective Art by Adam Mccauley
The Origins and Meanings of Non-Objective Art The Origins and Meanings of Non-Objective Art Adam McCauley, Studio Art- Painting Pope Wright, MS, Department of Fine Arts ABSTRACT Through my research I wanted to find out the ideas and meanings that the originators of non- objective art had. In my research I also wanted to find out what were the artists’ meanings be it symbolic or geometric, ideas behind composition, and the reasons for such a dramatic break from the academic tradition in painting and the arts. Throughout the research I also looked into the resulting conflicts that this style of art had with critics, academia, and ultimately governments. Ultimately I wanted to understand if this style of art could be continued in the Post-Modern era and if it could continue its vitality in the arts today as it did in the past. Introduction Modern art has been characterized by upheavals, break-ups, rejection, acceptance, and innovations. During the 20th century the development and innovations of art could be compared to that of science. Science made huge leaps and bounds; so did art. The innovations in travel and flight, the finding of new cures for disease, and splitting the atom all affected the artists and their work. Innovative artists and their ideas spurred revolutionary art and followers. In Paris, Pablo Picasso had fragmented form with the Cubists. In Italy, there was Giacomo Balla and his Futurist movement. In Germany, Wassily Kandinsky was working with the group the Blue Rider (Der Blaue Reiter), and in Russia Kazimer Malevich was working in a style that he called Suprematism. -
The Authenticity of Ambiguity: Dada and Existentialism
THE AUTHENTICITY OF AMBIGUITY: DADA AND EXISTENTIALISM by ELIZABETH FRANCES BENJAMIN A thesis submitted to The University of Birmingham For the degree of DOCTOR OF PHILOSOPHY Department of Modern Languages College of Arts and Law University of Birmingham August 2014 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. ii - ABSTRACT - Dada is often dismissed as an anti-art movement that engaged with a limited and merely destructive theoretical impetus. French Existentialism is often condemned for its perceived quietist implications. However, closer analysis reveals a preoccupation with philosophy in the former and with art in the latter. Neither was nonsensical or meaningless, but both reveal a rich individualist ethics aimed at the amelioration of the individual and society. It is through their combined analysis that we can view and productively utilise their alignment. Offering new critical aesthetic and philosophical approaches to Dada as a quintessential part of the European Avant-Garde, this thesis performs a reassessment of the movement as a form of (proto-)Existentialist philosophy. The thesis represents the first major comparative study of Dada and Existentialism, contributing a new perspective on Dada as a movement, a historical legacy, and a philosophical field of study. -
Âme D'automne (Autumn Soul)
Armand Point (French 1860 - 1932) Âme d’Automne (Autumn Soul) Pastel on brown paper. Signed APoint at the lower right. 483 x 645 mm. (19 x 25 3/8 in.) This beautiful pastel portrait was exhibited by Armand Point, with the title Âme d’Automne, at the Salon of the Société Nationale des Beaux-Arts on the Champ de Mars in Paris in 1893. A contemporary photograph of the exhibition shows the present work hanging alongside nine other highly finished pastel paintings of young women by the artist. All of the works shown by Point at the Salon de la Société Nationale des Beaux-Arts of 1893 were much admired by critics, and two of the pastels were purchased by the State. The model for this pastel portrait was Point’s companion and muse, Hélène Linder (1867-1955), who met the artist around 1886. Linder posed for several of his finest paintings, drawings, pastels and prints of the 1890’s. As the Point scholar Robert Doré has noted of the artist, ‘his observations focused on Hélène...she remained his preferred model until the end of the century...She was above all the inspiration and muse of Armand Point who would, thanks to her, know a period of exceptional creativity.’ Hélène Linder and Point lived together at Marlotte for nearly eight years. This period, as Doré has noted, accounts for some of ‘the artist’s finest works [in] the most brilliantly creative period in his career. These works are a testament to the deep tenderness that unified them, and the enthusiasm they shared in Marlotte.’ Point and Linder remained together until 1899, when Hélène met and eventually married the diplomat Philippe Berthelot. -
Extended Sensibilities Homosexual Presence in Contemporary Art
CHARLEY BROWN SCOTT BURTON CRAIG CARVER ARCH CONNELLY JANET COOLING BETSY DAMON NANCY FRIED EXTENDED SENSIBILITIES HOMOSEXUAL PRESENCE IN CONTEMPORARY ART JEDD GARET GILBERT & GEORGE LEE GORDON HARMONY HAMMOND JOHN HENNINGER JERRY JANOSCO LILI LAKICH LES PETITES BONBONS ROSS PAXTON JODY PINTO CARLA TARDI THE NEW MUSEUM FRAN WINANT EXTENDED SENSIBILITIES HOMOSEXUAL PRESENCE IN CONTEMPORARY ART CHARLEY BROWN HARMONY HAMMOND SCOTT BURTON JOHN HENNINGER CRAIG CARVER JERRY JANOSCO ARCH CONNELLY LILI LAKICH JANET COOLING LES PETITES BONBONS BETSY DAMON ROSS PAXTON NANCY FRIED JODY PINTO JEDD GARET CARLA TARDI GILBERT & GEORGE FRAN WINANT LE.E GORDON Daniel J. Cameron Guest Curator The New Museum EXTENDED SENSIBILITIES STAFF ACTIVITIES COUNCJT . Robin Dodds Isabel Berley HOMOSEXUAL PRESENCE IN CONTEMPORARY ART Nina Garfinkel Marilyn Butler N Lynn Gumpert Arlene Doft ::;·z17 John Jacobs Elliot Leonard October 16-December 30, 1982 Bonnie Johnson Lola Goldring .H6 Ed Jones Nanette Laitman C:35 Dieter Morris Kearse Dorothy Sahn Maria Reidelbach Laura Skoler Rosemary Ricchio Jock Truman Ned Rifkin Charles A. Schwefel INTERNS Maureen Stewart Konrad Kaletsch Marcia Thcker Thorn Middlebrook GALLERY ATTENDANTS VOLUNTEERS Joanne Brockley Connie Bangs Anne Glusker Bill Black Marcia Landsman Carl Blumberg Sam Robinson Jeanne Breitbart Jennifer Q. Smith Mary Campbell Melissa Wolf Marvin Coats Jody Cremin This exhibition is supported by a grant from the National Endowment for BOARD OF TRUSTEES Joanna Dawe the Arts in Washington, D.C., a Federal Agency, and is made possible in Jack Boulton Mensa Dente part by public funds from the New York State Council on the Arts. Elaine Dannheisser Gary Gale Library of Congress Catalog Number: 82-61279 John Fitting, Jr. -
Artist's Proposal
Gabbert Artist’s Proposal 14th Street Roundabout Page 434 of 1673 Gabbert Sarasota Roundabout 41&14th James Gabbert Sculptor Ladies and Gentlemen, Thank you for this opportunity. For your consideration I propose a work tentatively titled “Flame”. I believe it to be simple-yet- compelling, symbolic, and appropriate to this setting. Dimensions will be 20 feet high by 14.5 feet wide by 14.5 feet deep. It sits on a 3.5 feet high by 9 feet in diameter base. (not accurately dimensioned in the 3D graphics) The composition. The design has substance, and yet, there is practically no impediment to drivers’ visibility. After review of the design by a structural engineer the flame flicks may need to be pierced with openings to meet the 150 mph wind velocity requirement. I see no problem in adjusting the design to accommodate any change like this. Fire can represent our passions, zeal, creativity, and motivation. The “flame” can suggest the light held by the Statue of Liberty, the fire from Prometheus, the spirit of the city, and the hearth-fire of 612.207.8895 | jgsculpture.webs.com | [email protected] 14th Street Roundabout Page 435 of 1673 Gabbert Sarasota Roundabout 41&14th James Gabbert Sculptor home. It would be lit at night with a soft glow from within. A flame creates a sense of place because everyone is drawn to a fire. A flame sheds light and warmth. Reference my “Hopes and Dreams” in my work example to get a sense of what this would look like. The four circles suggest unity and wholeness, or, the circle of life, or, the earth/universe. -
Marcel Duchamp, French Dada Artist, Whose Small but Controversial Output Exerted a Strong Influence on the Development of 20Th-Century Avant-Garde Art
Marcel Duchamp, French Dada artist, whose small but controversial output exerted a strong influence on the development of 20th-century avant-garde art. Born on July 28, 1887, in Blainville, brother of the artist Raymond Duchamp-Villon and half brother of the painter Jacques Villon, Duchamp began to paint in 1908. After producing several canvases in the current mode of Fauvism, he turned toward experimentation and the avant-garde, producing his most famous work, Nude Descending a Staircase, No. 2 (Philadelphia Museum of Art) in 1912; portraying continuous movement through a chain of overlapping cubistic figures, the painting caused a furor at New York City's famous Armory Show in 1913. He painted very little after 1915, although he continued until 1923 to work on his masterpiece, The Bride Stripped Bare by Her Bachelors, Even (1923, Philadelphia Museum of Art), an abstract work, also known as The Large Glass, composed in oil and wire on glass, that was enthusiastically received by the surrealists. In sculpture, Duchamp pioneered two of the main innovations of the 20th century kinetic art and ready-made art. His "ready-mades" consisted simply of everyday objects, such as a urinal and a bottle rack. His Bicycle Wheel (1913, original lost; 3rd version, 1951, Museum of Modern Art, New York City), an early example of kinetic art, was mounted on a kitchen stool. After his short creative period, Duchamp was content to let others develop the themes he had originated; his pervasive influence was crucial to the development of surrealism, Dada, and pop art. Duchamp became an American citizen in 1955. -
A Critical Reassessment of Duchamp's Readymades and His Antiaesthetic of the Ordinary
University of Mary Washington Eagle Scholar Student Research Submissions Spring 5-1-2015 A Critical Reassessment of Duchamp's Readymades and his Antiaesthetic of the Ordinary Alexandra M. Parrish Follow this and additional works at: https://scholar.umw.edu/student_research Part of the History of Art, Architecture, and Archaeology Commons Recommended Citation Parrish, Alexandra M., "A Critical Reassessment of Duchamp's Readymades and his Antiaesthetic of the Ordinary" (2015). Student Research Submissions. 103. https://scholar.umw.edu/student_research/103 This Honors Project is brought to you for free and open access by Eagle Scholar. It has been accepted for inclusion in Student Research Submissions by an authorized administrator of Eagle Scholar. For more information, please contact [email protected]. A CRITICAL REASSESSMENT OF DUCHAMP'S READYMADES AND HIS ANTIAESTHETIC OF THE ORDINARY An honors paper submitted to the Department of Art and Art History of the University of Mary Washington in partial fulfillment of the requirements for Departmental Honors Alexandria M Parrish May 2015 By signing your name below, you affirm that this work is the complete and final version of your paper submitted in partial fulfillment of a degree from the University of Mary Washington. You affirm the University of Mary Washington honor pledge: "I hereby declare upon my word of honor that I have neither given nor received unauthorized help on this work." Alexandria M. Parrish 05/01/15 (digital signature) University of Mary Washington A Critical Reassessment of Duchamp's Readymades and his Antiaesthetic of the Ordinary By: Alexandria Parrish Faculty Advisor: Professor Joseph Dreiss Spring 2015 2 Marcel Duchamp has been described fittingly by painter Willem de Kooning as a "one-man movement."1 During his lifetime Duchamp created a limited number of works that had a seemingly infinite impact on modern art. -
Download 2017 Annual Report
Annual Report Issue SUMMER 2018 Please Join Us for the 72nd Annual Meeting and the Members’ Reception for Art and the New England Farm. Friday, June 1, 2018 at 5:30PM Florence Griswold Museum 96 Lyme Street Old Lyme, Connecticut The Annual Meeting takes place on Friday, June 1, 2018 at 5:30pm under a tent on the Adrian P. Moore Garden Terrace. We will share brief reports on the activities of the Museum and invite members to elect a new slate of officers and trustees. Afterwards, we’ll enjoy a festive reception for the exhibition Art and the New England Farm. This is your invitation to the Annual Meeting and Members’ Reception. We hope you can join us. Kindly RSVP (acceptances only) to 860-434-5542 ext. 122 or DeeDee@fl gris.org. Thomas Nason, Midsummer, 1954. Florence Griswold Museum, Gift of Janet Eltinge Art and the New England Farm – the Perils and Pleasures of Farming The Florence Griswold Museum is uniquely positioned to tell the story of Art and the New England Farm, on view May 11 through September 16. This exhibition delves into the agricultural heritage of Florence Griswold’s family estate, the Lyme region and beyond, to examine the complex history and character of New England’s farms. Paintings, drawings, and photographs by artists from the 1830s to the present day will trace the unique challenges of farming in New England. The Museum’s property is itself a case study of family farms in New England. Purchased by the Griswolds in 1841, these grounds became a country estate with barns, an orchard, gardens, and riverfront pastures where the family practiced small-scale farming during Florence’s childhood. -
Art Year 9 – Autumn SURREALISM
Knowledge Organiser Examples of Symbolism Art Year 9 – Autumn SURREALISM An Art Movements are the collective Surrealism began as a philosophical movement that said the way to find titles that are given to artworks truth in the world was through the subconscious mind and dreams, rather which share the same artistic style than through logical thought. The movement included many artists, poets, and writers who expressed their theories in their work. or technical approaches. There is no fixed rule that determines what an When was the Surrealism movement? art movement is. Below are a list of the most common art movements. The movement began in the mid-1920s in France and was born out of an earlier movement called Dadaism from Switzerland. It reached its peak in • Symbolism -1860 the 1930s. • Impressionism – 1860 • Fauvism – 1905 What are the characteristics of Surrealism? The Persistence of Memory (Salvador Dali) • Expressionism – 1912 • Dadaism -1916 Surrealism images explored the subconscious areas of the mind. The Perhaps the most famous of all the great Surrealist paintings, the • Surrealism 1920 artwork often made little sense as it was usually trying to depict a dream Persistence of Memory is known for the melting watches as well as • Cubism 1937 or random thoughts. the clarity of the art. The painting gives you sense that you are • Op Art - 1960 dreaming and that time is irrelevant. • Pop Art – 1962 • Minimalism – 1970 The Song of Love (Giorgio de The Son of Man (Rene Magritte) Chirico) Surrealist Artists The Son of Man is a self-portrait of This painting is one of the earliest Rene Magritte. -
Talia Kwartler
HTTPS://DOI.ORG/10.14324/111.2396-9008.052 SUZANNE DUCHAMP’S READYMADE PAINTINGS Talia Kwartler uzanne Duchamp pushed the boundaries of painting by incorporating unorthodox, machine-made materials within interconnected pictorial Sgeometries. This article focuses on her distinct way of combining modern elements with traditional mediums and situates her within dialogues on the readymade taking place between New York, Zurich and Paris during the 1910s and 1920s. These exchanges involved an international group of artists, including Jean Crotti, the artist’s older brother Marcel Duchamp, Elsa von Freytag-Loringhoven, Francis Picabia, Man Ray, Sophie Taeuber- Arp and Beatrice Wood. While Duchamp has been summarily treated in the literature on Dada, there has been little concentrated attention focused on her specific involvement with the movement. Her engagement ranged from correspondences with her older brother Marcel while he was based in New York to in-person collaborations when many of these artists returned to Paris after World War I, particularly Picabia and Crotti, whom she would marry in 1919. This article explores Duchamp’s readymade paintings both in relationship to other artists and as a body of work in its own right. A better understanding of her individual approach will shed greater light on ideas she shared with other Dadaists. This is because the particular way she integrated readymades within the mediums of painting, drawing and poetry arguably had an effect on the broader group. Picabia wrote in ‘Carnet du Doctor Serner’ in 391: ‘Suzanne Duchamp does more intelligent things than paint’.1 By turning Picabia’s assertion into a question, this article asks: What exactly was Duchamp doing that was ‘more intelligent’ than painting? Testing Picabia’s claim against her artworks, I will examine how the complex materials of Un et une menacés (1916, figure 1), Radiation de deux seuls éloignés (1916–20, figure 2), and Le Readymade malheureux de Marcel (1920, figure 3) function in relationship to each other.