20059634
Description
Flashcards by Yiyi Zhang, updated more than 1 year ago
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Created by Yiyi Zhang
over 4 years ago
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| Question | Answer |
| Dada | Dada was a means of expressing outrage at the war and disaffection for the materialist and nationalist views that promoted it. |
| Hugo Ball Dada Hugo Ball introduced abstract poetry at the Cabaret Voltaire in June 1916. Ball’s thesis—that conventional language had no more place in poetry than the outworn human image in painting—produced a chant of more or less melodic syllables without meaning such as “zimzim urallala zimzim zanzibar zimlalla zam….” Wrapped in a cardboard costume, he recited his “sound poem,” Karawane, from the two flanking music stands. Despite the frenzied reactions of the audience to this experiment, its influence—like much else presented at the Cabaret Voltaire—affected the subsequent course of twentieth-century poetry. | |
| Marcel Duchamp Dada For Duchamp, the conception, the “discovery,” was what made a work of art, not the uniqueness of the object. The “readymade,” defined by the Surrealist André Breton as “manufactured objects promoted to the dignity of art through the choice of the artist.” is Duchamp’s most outrageous and far-reaching assault on artistic tradition. The work was signed “R. Mutt,” a pun on the plumbing fixture manufacturer J. L. Mott Iron Works, and it also associates with the popular Mutt and Jeff cartoons. the complex process of his thought shows in his works—the delight in paradox, the play of visual against verbal, and the penchant for alliteration and double and triple meanings. | |
| Marcel Duchamp Dada The “readymade,” defined by the Surrealist André Breton as “manufactured objects promoted to the dignity of art through the choice of the artist.” is Duchamp’s most outrageous and far-reaching assault on artistic tradition. Duchamp mounted an old bicycle wheel on an ordinary kitchen stool; it is an “assisted” readymade, which required some intervention by the artist. | |
| Man Ray Dada The work was made for the avant-garde French composer Erik Satie, hence its title, Gift. Man Ray subverted an iron’s normal utilitarian function by attaching fourteen tacks to its surface, transforming this familiar object into something alien and threatening. It's made in the spirit of Duchamp’s “assisted” readymades. | |
| Man Ray Dada It's made in the spirit of Duchamp’s “assisted” readymades. It employs an ordinary manufactured object, with little modification, as a work of art. This work, Object to Be Destroyed, had been remade by Man Ray several times to demonstrate the indestructible nature of the original idea. | |
| Raoul Hausmann Dada Raoul Hausmann is one of the key figures in Berlin Dada. In his "Spirit of Our Time," Hausmann created a kind of three-dimensional collage. Through his use of commonly found objects -- cup, tape measure, labels, and a pocketbook, Hausmann partook of the iconoclastic spirit of Duchamp’s readymades and implied that human beings had been reduced to mindless robots, devoid of individual will. | |
| Hannah Hoch Dada Höch here presents a satirical panorama of Weimar society. The despised Weimar government leaders at the upper right are labelled “anti-Dada movement.” Throughout the composition are photographs of gears and wheels, both a tribute to technology and a means of imparting a sense of dynamic, circular movement. The preponderance of female imagery in her work indicates her interest in the new roles of women in postwar Germany, which had granted them the vote in 1918, two years before the United States. | |
| Kurt Schwitters Dada At the end of 1918, he realized that all values only exist in relationship to each other and that restriction to a single material is one-sided and small-minded. From this insight, he formed Merz, above all the sum of individual art forms, Merz-painting, Merz-poetry. This is a three-dimensional collage picture. The depiction of a face in profile in the composition, together with the subtitle Der Irrenarzt (The Alienist), suggests that it is a hybrid between an Expressionist portrait and a Dada assemblage. | |
| Jean Arp Dada Arp employed notions of chance and flux in his work in protest at what he saw as the Western world's over-reliance on reason. He tore the papers instead of curving them neatly with scissors. He said in this way, he had accepted the transience, the brevity, the impermanence, the fading, the withering of our existence. These torn pictures, these papiers déchirés brought him closer to a faith other than earthly. | |
| John Heartfield Dada Heartfield combined an actual photo of Hitler with an x-ray to create this unforgettable image of a politician spouting ugliness to help move his country toward a profitable war. |
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