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1 World War I 3 2 Dada Origins 8 3 Marcel Duchamp 25 4 Höch and Hausmann 35 5 Kurt Schwitters 47 6 Dada's Women 65

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1 World War I 3 2 Dada Origins 8 3 Marcel Duchamp 25 4 Höch and Hausmann 35 5 Kurt Schwitters 47 6 Dada's Women 65 GRAPHIC DESIGN HISTORY / THE ARTS & CRAFTS MOVEMENT 1 / 71 Dada 1 World War I 3 2 Dada Origins 8 3 Marcel Duchamp 25 4 Höch and Hausmann 35 5 Kurt Schwitters 47 6 Dada’s Women 65 © Kevin Woodland, 2020 GRAPHIC DESIGN HISTORY / THE ARTS & CRAFTS MOVEMENT 2 / 71 © Kevin Woodland, 2020 GRAPHIC DESIGN HISTORY / THE ARTS & CRAFTS MOVEMENT 3 / 71 1914–1918 World War I The effects on society during the first world war were reflected in the poster art of the time which exemplified unbridled nationalism and psychological terror. © Kevin Woodland, 2020 GRAPHIC DESIGN HISTORY / THE ARTS & CRAFTS MOVEMENT 4 / 71 © Kevin Woodland, 2020 (left) Alfred Leete, Britons, [Lord Kitchener] Wants YOU, 1914; (right) James Montgomery Flagg, I Want YOU for U.S. Army, 1917 GRAPHIC DESIGN HISTORY / THE ARTS & CRAFTS MOVEMENT 5 / 71 In World War I, the frontline was not viewed as a place fit for a woman. While kept away from direct combat, however, women were a valuable asset in recruiting men to the navy. The winsome pin–up in Gee!! I Wish I Were a Man sports a fluttering naval uniform; the whole look and chatty tone was extremely effective in underscoring the masculine appeal of serving soldiers. Here was a woman worth fighting for. The poster was admired for its American “punch” and “air of glad youth which came like a Spring wind over our war-weary spirits.” MOMA © Kevin Woodland, 2020 (left) Howard Chandler Christy, I Want You for the Navy, 1917; (center) Howard Chandler Christy, Gee!! I Wish I Were a Man, 1917; (right) Howard Chandler Christy, Fight or Buy Bonds, 1917 GRAPHIC DESIGN HISTORY / THE ARTS & CRAFTS MOVEMENT 6 / 71 © Kevin Woodland, 2020 (left) Lucian Bernhard, Das ist der Weg zum Frieden, 1917; (right) Julius Klinger, 8 Kriegsanleihe (8th War Loan), 1917 GRAPHIC DESIGN HISTORY / THE ARTS & CRAFTS MOVEMENT 7 / 71 © Kevin Woodland, 2020 Ludwig Hohlwein GRAPHIC DESIGN HISTORY / THE ARTS & CRAFTS MOVEMENT / Dada Origins 8 / 71 1916–1922 Dada Origins Dadaism is a cultural movement that began in Zurich, Switzerland, during World War I. © Kevin Woodland, 2020 Hugo Ball, Zurich, 1916 GRAPHIC DESIGN HISTORY / THE ARTS & CRAFTS MOVEMENT / Dada Origins 9 / 71 “Dada’s rejection of art and tradition enabled it to enrich the visual vocabulary started by Futurism.” MEGGS © Kevin Woodland, 2020 Dada ephemera. 1916–1922 GRAPHIC DESIGN HISTORY / THE ARTS & CRAFTS MOVEMENT / Dada Origins 10 / 71 1916 – 1922 Dada Philosophy Rejecting all tradition, they sought complete freedom. They bitterly rebelled against the horrors of war, the decadence of European society, the shallowness of blind faith in technological progress, and the inadequacy of religion and conventional moral codes in a continent in upheaval. –MEGGS © Kevin Woodland, 2020 GRAPHIC DESIGN HISTORY / THE ARTS & CRAFTS MOVEMENT / Dada Origins 11 / 71 Dada doubts everything. TRISTAN TZARA Born in a Zürich nightclub in 1916 as an all-out mutiny against World War I and the social and political climate that fueled it, Dada remains one of the most anarchistic cultural movements of all time. MEREDITH MENDELSOHN © Kevin Woodland, 2020 Johannes Theodor Baargeld, Typical Vertical Mess as Depiction of the Dada Baargeld, 1920 GRAPHIC DESIGN HISTORY / THE ARTS & CRAFTS MOVEMENT / Dada Origins 12 / 71 © Kevin Woodland, 2020 GRAPHIC DESIGN HISTORY / THE ARTS & CRAFTS MOVEMENT / Dada Origins 13 / 71 © Kevin Woodland, 2020 GRAPHIC DESIGN HISTORY / THE ARTS & CRAFTS MOVEMENT / Dada Origins 14 / 71 Dada does not mean anything. TRISTAN TZARA The magic of a word — DADA — which for journalists has opened the door to an unforeseen world, has for us not the slightest importance. TRISTAN TZARA © Kevin Woodland, 2020 Dada Journal, No. 3, 1918 GRAPHIC DESIGN HISTORY / THE ARTS & CRAFTS MOVEMENT / Dada Origins 15 / 71 1916–1922 Dada Philosophy • Reaction to the carnage of World War I • Claimed to be anti-art • Had a negative and destructive element © Kevin Woodland, 2020 Raoul Hausmann, Mechanical Head (The Spirit of Our Time), assemblage circa 1920 GRAPHIC DESIGN HISTORY / THE ARTS & CRAFTS MOVEMENT / Dada Origins 16 / 71 1916–1922 Dada Philosophy • Literature • Poetry • Visual Arts • Manifestoes • Theatre • Graphic design • Art theory © Kevin Woodland, 2020 GRAPHIC DESIGN HISTORY / THE ARTS & CRAFTS MOVEMENT / Dada Origins 17 / 71 1916–1922 Dada Activities Dada writers and artists were concerned with: • Shock • Protest • Nonsense • Obsurdity • Confrontation © Kevin Woodland, 2020 Dadaists in Disguise, André Breton, René Hilsum (standing), Louis Aragon, Paul Éluard GRAPHIC DESIGN HISTORY / THE ARTS & CRAFTS MOVEMENT / Dada Origins 18 / 71 © Kevin Woodland, 2020 Dadaists at the First International Dada Fair in Berlin in 1920. A mannequin of a German officer with the head of a pig hangs from the ceiling. GRAPHIC DESIGN HISTORY / THE ARTS & CRAFTS MOVEMENT / Dada Origins 19 / 71 1916–1922 Dada Activities • Public gatherings • Demonstrations • Publication of art/literary journals • Art and political criticism © Kevin Woodland, 2020 Opening of the Max Ernst exhibition at the gallery Au Sans Pareil, May 2, 1921 GRAPHIC DESIGN HISTORY / THE ARTS & CRAFTS MOVEMENT / Dada Origins 20 / 71 1918 Dada Activities Raoul Hausmann starts the publication of Der Dada © Kevin Woodland, 2020 Raoul Haussman, cover for Der Dada, 1917 GRAPHIC DESIGN HISTORY / THE ARTS & CRAFTS MOVEMENT / Dada Origins 21 / 71 1916–1922 Dada Aesthetics • Spontaneous chance • Planned decisions Dada’s rejection of art and tradition enabled it to enrich the visual vocabulary started by Futurism. – MEGGS © Kevin Woodland, 2020 Francis Picabia, Dame!, Illustration Dadaphone, no. 7, Paris, March 1920 GRAPHIC DESIGN HISTORY / THE ARTS & CRAFTS MOVEMENT / Dada Origins 22 / 71 1916–1922 Dada Aesthetics • Dada started as a literary movement • Aesthetic was forged by poets crafting sound poetry • Nonsense poetry • Chance poetry • Chance placement, absurd titles © Kevin Woodland, 2020 Cover of the first edition of the publication, Dada. Edited by Tristan Tzara. Zürich, 1917 GRAPHIC DESIGN HISTORY / THE ARTS & CRAFTS MOVEMENT / Dada Origins 23 / 71 Tristan Tzara © Kevin Woodland, 2020 Tristan Tzara, to Make a Dadaist Poem, 1920 GRAPHIC DESIGN HISTORY / THE ARTS & CRAFTS MOVEMENT / Dada Origins 24 / 71 1920 To make a Dadaist poem 1. Take a newspaper. 2. Take a pair of scissors. 3. Choose an article as long as you are planning to make your poem. 4. Cut out the article. 5. Then cut out each of the words that make up this article and put them in a bag. 6. Shake it gently. 7. Then take out the scraps one after the other in the order in which they left the bag. 8. Copy conscientiously. 9. The poem will be like you. 10. And here you are a writer, infinitely original and endowed with a sensibility that is charming though beyond the understanding of the vulgar. © Kevin Woodland, 2020 Tristan Tzara, to Make a Dadaist Poem, 1920 GRAPHIC DESIGN HISTORY / THE ARTS & CRAFTS MOVEMENT / Marcel DUchamp 25 / 71 1887–1968 Marcel Duchamp The French painter Marcel Duchamp joined the Dada movement and became its most prominent visual artist. © Kevin Woodland, 2020 GRAPHIC DESIGN HISTORY / THE ARTS & CRAFTS MOVEMENT / Marcel DUchamp 26 / 71 1908-1915 Visual Artist • Cubism influenced his analysis of subjects as geometric planes • Futurism inspired him to convey time and motion © Kevin Woodland, 2020 GRAPHIC DESIGN HISTORY / THE ARTS & CRAFTS MOVEMENT / Marcel DUchamp 27 / 71 1908-1915 Visual Artist • Cubism influenced his analysis of subjects as geometric planes • Futurism inspired him to convey time and motion © Kevin Woodland, 2020 GRAPHIC DESIGN HISTORY / THE ARTS & CRAFTS MOVEMENT / Marcel DUchamp 28 / 71 © Kevin Woodland, 2020 Marcel Duchamp, Nude (Study), Sad Young Man on a Train, 1911; Marcel Duchamp, Nude Descending a Staircase, No. 2, 1912 GRAPHIC DESIGN HISTORY / THE ARTS & CRAFTS MOVEMENT / Marcel DUchamp 29 / 71 By World War I, he had rejected the work of many of his fellow artists (like Henri Matisse) as “retinal” art, intended only to please the eye. Instead, Duchamp wanted to put art back in the service of the mind. – MEGGS © Kevin Woodland, 2020 GRAPHIC DESIGN HISTORY / THE ARTS & CRAFTS MOVEMENT / Marcel DUchamp 30 / 71 1913 Ready-Made Sculpture • Philosophy of absolute freedom • Art and life were processes of random chance and willful choice • Artistic acts became matters of individual decision and selection • Bicycle Wheel is said to be the first kinetic sculpture © Kevin Woodland, 2020 Marcel Duchamp, Bicycle Wheel, 1913 GRAPHIC DESIGN HISTORY / THE ARTS & CRAFTS MOVEMENT / Marcel DUchamp 31 / 71 1917 Ready-Made Sculpture • Philosophy of absolute freedom • Art and life were processes of random chance and willful choice • Artistic acts became matters of individual decision and selection Duchamp described his intent with the piece was to shift the focus of art from physical craft to intellectual interpretation. –WIKIPEDIA © Kevin Woodland, 2020 Marcel Duchamp (R. Mutt), Fountain, 1917 GRAPHIC DESIGN HISTORY / THE ARTS & CRAFTS MOVEMENT / Marcel DUchamp 32 / 71 1917 “Whether Mr. Mutt made the fountain with his own hands or not has no importance. He CHOSE it. He took an article of life, placed it so that its useful significance disappeared under the new title and point of view—created a new thought for that object. – BEATRICE WOOD © Kevin Woodland, 2020 Marcel Duchamp (R. Mutt), Fountain, 1917 GRAPHIC DESIGN HISTORY / THE ARTS & CRAFTS MOVEMENT / Marcel DUchamp 33 / 71 1919 The public was outraged when Duchamp painted a mustache on a reproduction of the Mona Lisa. © Kevin Woodland, 2020 Marcel Duchamp, L.H.O.O.Q., 1919 GRAPHIC DESIGN HISTORY / THE ARTS & CRAFTS MOVEMENT / Marcel DUchamp 34 / 71 1919 Rose Sélavy was one of the pseudonyms of artist Marcel Duchamp. The name, a pun, sounds like the French phrase “Eros, c’est la vie”, which translates to English as “Eros, that’s life”. It has also been read as “arroser la vie” (“to make a toast to life”). © Kevin Woodland, 2020 Rrose Sélavy (Marcel Duchamp), 1921. Photograph by Man Ray.
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