1. 1 Term it be 3 could what???????

2. Dada (1916 – 1922) ‘Only madness was sane, only anarchy could govern, only trash was valuable, only filth was clean, only anti-art was art!’ Edmund Burke Feld ‘Thinking About Art’, 1985. Marcel Duchamp, ‘L.H.O.O.Q.’, 1919. rectified readymady, pencil,on a reproduction — a chromolithograph, 7 3/4 x 4 7/8 inches, private collection, Paris. 2

4. What does the name Dada mean? Even the meaning of Dada is debatable. However, its nonsense name was meant to make a comment on European culture having lost its meaning. There are different stories even about the origin of the word. It was said to be found in a French dictionary and selected at random. Rocking horse or hobby horse. In Slavic it means “yes, yes”. A baby’s first word.

5. In 1916, as war raged across Europe, a small band of political outcasts launched an artistic revolution. Their intention was to bitterly mock culture gone mad. These artists, painters, sculptors, musicians, poets, playwrights and photographers - had been drawn together from their native countries by their shared outrage toward World War I. They formed a community in the city of Zurich in the neutral country Switzerland. where they set about shattering the traditions of art. In a world turned upside down by war, some members of the Zurich group embraced art as an instrument for political change, even anarchy. Others just rejected the "rationality" of the modern world. All sought to break down the boundaries between art forms, mixing them in new, unexpected and sometimes shocking ways. Ironically, Dada was born from what it hated.

6. The Dadaists and their audience saw these antics less absurd than the war itself. In 1917, 120 000 French were killed by German troops just 150 miles from Paris. The French reinforcements were witnessed by townsfolk actually baa-ing like sheep in futile protest as they were sent in for the next attack. Curator Laurent Le Bon commented that “Without World War I there is no Dada.” But there is a French saying: “Dada explains the war more than the war explains Dada.”

7. They gathered in Zurich at the Cabaret Voltaire. Dada artist Hans Arp described the scene at the Cabaret Voltaire: “Total pandemonium…Tzara is wiggling his behind like the belly of an oriental dancer. Janco is playing an invisible violin and bowing and scraping. Madame Hennings, with a Madonna Face, is doing the splits. Huelsenback is banging away nonstop on the great drum, with Ball accompanying him on the piano, chalky as a pale ghost.”

9. The Dada Manifesto… well Some of it!

10. DADA EXCITES EVERYTHING DADA knows everything. DADA spits everything out. BUT......... HAS DADA EVER SPOKEN TO YOU: about Italy about accordions about women's pants about the fatherland about sardines about Fiume about Art (you exaggerate my friend) about gentleness about D'Annunzio what a horror about heroism about mustaches about lewdness

11. about sleeping with Verlaine about the ideal (it's nice) about Massachusetts about the past about odors about salads about genius, about genius, about genius about the eight-hour day about the Parma violets NEVER NEVER NEVER DADA doesn't speak. DADA has no fixed idea. DADA doesn't catch flies. THE MINISTRY IS OVERTURNED. BY WHOM? BY DADA The author, Tristan Tzara, then announced this Manifesto is not actually a Manifesto.

12. Kurt Schwitters (1887-1948) Kurt Schwitters is arguably one of the leading collage artists of the 20th century. In 1916 or 1917, Schwitters discovered collage and adopted it as his primary means of making art. While collage had long been popular for family albums and scrapbooks, it had always been dismissed as a mere craft. That changed in 1912, when Picasso and Georges Braque seized upon collage as a serious artistic tool. Within a few years, in the hands of Schwitters and others, it became one of the primary forms of Dada art. Collage appealed to the Dadaists because it allowed them to bring the everyday into the artwork. They made collages from newspaper clippings, photographs, even string and throwaway wrappers and other fragments of reality.

15. Marcel Ducham p (1887 - 1968) ‘Nude Descending a Staircase, 1912. Marcel Duchamp. http://www.understandingduchamp.com/scalable.html 15

16. Marcel Duchamp waltzed into a plumbing equipment manufacturer on lower Fifth Avenue, acquired a porcelain urinal, signed it “R. Mutt” and submitted the now notorious “Fountain” to an art show, he claimed to be horrified when people found his ‘readymade’ beautiful.

17. Art by declaration had replaced art by discrimination. A urinal, a snow shovel, a hat rack and a bicycle wheel fastened to a stool were art because he said so, and who was to say they weren’t? Except that, by the same token, if someone decided the urinal or snow shovel looked aesthetically pleasing, who was he to deny it? Dada opened art up to the everyday and we are its beneficiaries.

18. This piece was both shocking and one of the most important of the Dada movement. It raised numerous questions of what art is and could be, and completely changed opinions of how art is perceived today. 'Fountain' 1917. signed urinal by Marcel Duchamp. 18

19. ‘Bicycle Wheel’, 1951 (third version, after lost original of 1913). Marcel Duchamp. Metal wheel mounted on painted wooden stool, 128.3 x 63.8 x 42 cm. 19 Marcel Duchamp created 21 ‘Bicycles Wheel’s’ in all!

20. 20 Duchamp believed he was altering the perception of art from: “retinal” (there to please the eye), to the “intellectual” (in the service of the mind). Bottle Rack/Egouttoir (or Porte-bouteilles). 1914. Marcel Duchamp, 1914/64. Readymade: bottle rack made of galvanized iron. 59 x 37 cm. Original lost. Replica.

21. In Advance of the Broken Arm. 1915 Marcel Duchamp. Readymade: show shovel, wood and galvanized iron. 121.3 cm. Yale Center for British Art, New Haven, USA. 21

22. ‘Rayograph’, 1923. Man Ray (born Emmanuel Radnitzky). Gelatin silver print, (29.4 x 23.2 cm). The Museum of Modern Art, New York Man Ray (1890 - 1976) 22

23. Man Ray “Indestructible Object (or Object to Be Destroyed),” 1964. (replica of 1923 original). Metronome with cutout photograph of eye on pendulum, 22.5×11.6 cm. The Museum of Modern Art, New York. 23

24. ‘The Gift’, 1921. 24

25. “Le Violon d’Ingres (Ingres’s Violin)”, 1924 and “Tears”, 1930-1932 25 "Of course, there will always be those who look only at technique, who ask 'how', while others of a more curious nature will ask 'why'. Personally, I have always preferred inspiration to information." – Man Ray

26. Model in Dominguez' wheelbarrow, 1937. Man Ray 26

27. ‘Meret Oppenheim’, 1933. Man Ray 27 Man Ray has been named one of the twentieth centuries 25 most influential artists.

28. 28 While collage had long been popular for family albums and scrapbooks, it had always been dismissed as a mere craft. That changed in 1912, when Picasso and Georges Braque seized upon collage as a serious artistic tool. Within a few years, in the hands of Schwitters, Hoch, Hausmann and others, it became one of the primary forms of Dada art. Collage appealed to the Dadaists because it allowed them to bring the everyday into the artwork. They made collages from newspaper clippings, photographs, even string and throwaway wrappers and other fragments of reality.

29. Photomontage Hannah Hoch, Raoul Hausman and George Grosz created whimsical and bitingly political collages that combined photographs, illustrations, magazine images. Centre is The Art Critic (1919-20) by Hausman.

30. 30

31. The Dada artists also mocked the technology and science of the emerging industrial age. The felt it dehumanized man. Artist Hans Arp said: “Today’s representative of man is only a tiny button on a giant senseless machine.” So they built machines and diagrams of machines, crammed with gears, pulleys, dials, wheels, levers, pistons and clockworks that had no purpose and did nothing.

32. The Art Critic', 1919-1920. Raoul Hausmann crayon, ink stamp, photomontage and collage on a printed poster poem 32

33. A victim of Society (later titled 'Remember Uncle August, the Unhappy Inventor'),1919. George Grosz. This piece is both vulgar and disturbing. It is a good example of the Dada movement, the use of collage, to distort the human face was a protest against conventional painting and the subject matter questioned the morals of society. 33

34. 34 Hannah Höch, Da Dandy, 1919 Photomontage, 11 13/16 x 9 1/16 inches In Da Dandy women meld into men, as fragments of contemporary female heads in modern fashions of the day recombine to form the profile of a man (facing right and identified by a thin red line). Höch’s work never seems to offer a conclusive answer as to the true identity of the “New Woman”; on the contrary, it often raises the question of whether the economic and social status quo has changed.

35. 35 Kurt SchwittersKurt Schwitters, Das Undbild’, 1919, The National Gallery Stuttgar

36. Hannah Höch German 1889 - 1978 Dada Photomontages "I wish to blur the firm boundaries which we self- certain people tend to delineate around all we can achieve." - Hannah Höch

37. Beautiful Girl - 1920

38. Dada Ernst

39. Abduction - 1925

40. Grotesque

41. Tamar

42. “Cut with the Kitchen Knife Dada Through the Last Weimar Beer- Belly Cultural Epoch in Germany” 1919-1920. photomontage and collage with watercolor

64. http://www.nga.gov/exhibitions/2006/dada/artists /hoch.shtm http://www.envision8.com/fs297/hannah.php http://smarthistory.khanacademy.org/hoch- kitchen-knife.html http://www.yellowbellywebdesign.com/hoch/galle ry.html

65. ‘Art is dead. Long live Dada.‘ -Walter Serner 65

66. 66 Dada and the Agencies of the artworld. World:  Dada (approx 1916 – 1922), was a short lived but heavily influential twentieth century art movement.  Dada was a movement in which artists stated their disgust with the horror and absurdity of the 1 st World war and with life in general’.  The rebel Dada artists set out to ridicule modernity – they questioned the values and attributes of modern society.  Rejection of conventions in art and thought.

67. 67 Most influential Artists:  Marcel Duchamp, sculptor and painter; creator of the ‘readymade’.  Man Ray, sculpture, film, painting and photography, creator of the ‘Rayogrammes’.  Andre Breton, writer and poet.  Raoul Hausmann, collage art.  Kurt Schwitters, collage and assemblage.  Hannah Hoch, photomontage and collage.  Meret Oppenheim, painter and sculptor  George Grosz, political painter and collage artist……  Tristan Tzara, Francis Picabia, Max Ernst, Jean Arp, and more….……….

68. Artwork: †  Dadaists typically produced art objects in unconventional forms produced by unconventional methods. – became known as ‘ANTI-ART’. †  They questioned long-held assumptions about what a work of art should be and how it should be made. †  Many new and shocking techniques; e.g. the Readymade, Rayogramme, Assemblage, Collage, Found Objects, Photomontage, Frottage, Performance, Happenings,…………. †  Artworks showed a radical way of looking at the world. †  The idea of art being ‘beautiful’ to the eye is ridiculed. † †  They gave honourable status to the accident in art. †  The artworks highlight worldly concerns of each artist. †  Such artwork radically revolutionised the artworld and lay foundations for future developments in the modern art world. 68

69. Some Influential Artworks:  ’Bicycle Wheel’, Duchamp 1913. †  ‘Fountain’, Duchamp 1917. †  ‘L.H.O.O.Q.,’ Duchamp 1919. †  ‘The Gift’, Ray 1921. †  ‘Indestructible Object (or Object to Be Destroyed)’, Ray 1923. †  ‘A victim of Society’, Grosz 1919. †  ‘The Art Critic', Hausmann 1920. 69

70. Audience:  The audience at the time was shocked;  Very controversial;  Critics called Duchamp’s Readymades ‘immoral and vulgar—even plagiaristic’.  Later the shock of Dada artwork was appreciated and went on to influence other art movements.  Many art critics and historians view Duchamp as a key figure who changed the direction of modern art.  Many artists responded positively to Man Ray’s daring combination of minimalism, chance, and absurdity in his rayogrammes. 70

71. Quote: ‘Revolted by the butchery of the 1914 World War, we in Zurich devoted ourselves to the arts. While the guns rumbled in the distance, we sang, we painted, made collages and wrote poems with all our might. We were seeking an art based on fundamentals to cure the madness of the age, and a new order of things that would restore the balance between heaven and hell. We had a dim premonition that power-mad gangsters would one day use art itself as a way of deadening men’s minds’. Hans Arp 1916 71