CURIOUS VISIONS REVIEW: DADA Marcel Duchamp (French, 1887–1968) L.H.O.O.Q., 1919, “rectified readymade”, pencil on reproduction of Leonardo da Vinci's.

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CURIOUS VISIONS REVIEW: DADA Marcel Duchamp (French, 1887–1968) L.H.O.O.Q., 1919, “rectified readymade”, pencil on reproduction of Leonardo da Vinci's Mona Lisa. Hugo Ball (German, )at the Café Voltaire, dressed in costume and reading his nonsense poem Karawane.

Raoul Hausmann, (Austrian, ) The spirit of our time, assemblage, 33cm high, Assemblage. Use of typography in new and puzzling ways: Kurt Schwitters & Theo von Doesburg, Small Dada Soiree, lithograph, This was an poster advertising a Dada art event

Because of this skepticism about reason and logic, some Dadaists were interested in interacting with the laws of chance, e.g. Hans ( or Jean) Arp. The implication of this was that the artwork had some sort of ‘life of its own’. This questioned the traditional notion of the artist as skilled, talented genius or individual. Hans Arp, Collage with squares arranged according to the laws of chance, collage, 48 x 35cm, This is a different approach from Picasso and Braque’s collages, which were carefully drafted and planned in a manner much more like traditional artworks (even if they looked different.) Hans Arp, Automatic drawing, ink on paper, 42 x 54cm, c. 1917

Otto Dix (German, ) Card-playing war cripples, 1920, oil on canvas with Photomontage and collage, 110 x 87cm John Heartfield, The meaning of the Hitler salute: little man asks for big money, photomontage, magazine cover, 1932.

Marcel Duchamp Bicycle Wheel, 1951 (reconstructed – original created 1913, lost.) Fountain, men’s urinal, signed ‘R Mutt’,1917

Bottle dryer, replica 1936, after original of 1914, lost. The prongs on this bottle dryer are waiting to poke into the wet bottles and hold them while they dry. One of Duchamp’s “bachelor objects”. 3 Standard Stoppages,

Nude descending a staircase No. 2, 1912, oil on canvas, 147 x 89cm 50cc of Paris Air, 1919, broken in America and repaired 1949

Marcel Duchamp as Rrose Selavy, his alter ego. Rrose Selavy is a pun on ‘Eros, c’est la vie’ or Eros, that is life.

Q: The Blackstone Tjanpi Weavers are a group of Aboriginal women from 28 indigenous communities in Western Australia. Identify the main characteristics of their artmaking practice as represented in the images below. Plate 1: Blackstone Tjanpi Weavers, Australia. Tjanpi Grass Toyota, Grass, raffia and a discarded car frame. Plate 2: Kantjupayi Benson, Basket, Grass and raffia, 30 cm in diameter. Kantjupayi Benson is a leading member of the group. She specialises in coiled basketry technique.