fbpx
Wikipedia

Neo-Dada

January 01, 1970

For other uses, see Neo-Dada (disambiguation).

Neo-Dada was a movement with audio, visual and literary manifestations that had similarities in method or intent with earlier Dada artwork. It sought to close the gap between art and daily life, and was a combination of playfulness, iconoclasm, and appropriation.[1] In the United States the term was popularized by Barbara Rose in the 1960s and refers primarily, although not exclusively, to work created in that and the preceding decade. There was also an international dimension to the movement, particularly in Japan and in Europe, serving as the foundation of Fluxus, Pop Art and Nouveau réalisme.[2]

Neo-Dada has been exemplified by its use of modern materials, popular imagery, and absurdist contrast. It was a reaction to the personal emotionalism of Abstract Expressionism and, taking a lead from the practice of Marcel Duchamp and Kurt Schwitters, denied traditional concepts of aesthetics.[3]

Trends edit

Interest in Dada followed in the wake of documentary publications, such as Robert Motherwell's The Dada Painters and Poets (1951)[4] and German language publications from 1957 and later, to which some former Dadaists contributed.[5] However, several of the original Dadaists denounced the label Neo-Dada, especially in its U.S. manifestations, on the grounds that the work was derivative rather than making fresh discoveries; that aesthetic pleasure was found in what were originally protests against bourgeois aesthetic concepts; and because it pandered to commercialism.[6]

Many of the artists who identified with the trend subsequently moved on to other specialities or identified with different art movements and in many cases only certain aspects of their early work can be identified with it. For example, Piero Manzoni's Consacrazione dell'arte dell'uovo sodo (Artistic consecration of the hard-boiled egg, 1959), which he signed with an imprint of his thumb, or his cans of shit (1961) whose price was pegged to the value of their weight in gold, satirizing the concept of the artist's personal creation and art as commodity.[7]

 
A Jean Tingueley fountain in Basel

An allied approach is found in the creation of collage and assemblage, as in the junk sculptures of the American Richard Stankiewicz, whose works created from scrap have been compared with Schwitters' practice. These objects are "so treated that they become less discarded than found, objets trouvés."[8] Jean Tinguely's fantastic machines, notoriously the self-destructing Homage to New York (1960), were another approach to the subversion of the mechanical.

Although such techniques as collage and assemblage may have served as inspiration, different terms were found for the objects produced, both in the U.S. and in Europe. Robert Rauschenberg labeled as "combines" such works as "Bed" (1955), which consisted of a framed quilt and pillow covered in paint and mounted on the wall. Arman labeled as "accumulations" his collections of dice and bottle tops, and as "poubelles" the contents of trash-bins encased in plastic. Daniel Spoerri created "snare pictures" (tableaux piège), of which the earliest was "Kichka's Breakfast" (1960), and in which the remains of a meal were glued to the cloth and mounted on the table-top affixed to the wall.[9]

Poems edit

In the Netherlands the poets associated with the 'magazine for texts', Barbarber (1958–71), particularly J. Bernlef and K. Schippers, extended the concept of the readymade into poetry, discovering poetic suggestiveness in such everyday items as a newspaper advert about a lost tortoise and a typewriter test sheet.[10] Another group of Dutch poets infiltrated the Belgian experimentalist magazine Gard Sivik and began to fill it with seemingly inconsequential fragments of conversation and demonstrations of verbal procedures. The writers included C.B. Vaandrager, Hans Verhagen and the artist Armando. On this approach the critic Hugo Brems has commented that "the poet's role in this kind of poetry was not to discourse on reality, but to highlight particular fragments of it which are normally perceived as non-poetic. These poets were not creators of art, but discoverers."[11]

The impersonality that such artists aspired to was best expressed by Jan Schoonhoven (1914–94), the theorist of the Dutch Nul group of artists, to which Armando also belonged: "Zero is first and foremost a new conception of reality, in which the individual role of the artist is kept to a minimum. The Zero artist merely selects, isolates parts of reality (materials as well as ideas stemming from reality) and exhibits them in the most neutral way. The avoidance of personal feelings is essential to Zero."[12] This in turn links it with some aspects of Pop Art and Nouveau Réaliste practice and underlines the rejection of Expressionism.

The beginnings of Concrete Poetry and text montage in the Wiener Gruppe have also been referred back to the example of Raoul Hausmann's letter poems.[13] Such techniques may also owe something to H.N. Werkman's typographical experiments in the Netherlands which had first been put on display in the Stedelijk Museum in 1945.[14]

Artists linked with the term edit

See also edit

References edit

  1. ^ Collins, Bradford R., 1942- (2012). Pop art : the independent group to Neo pop, 1952-90. London: Phaidon. ISBN 9780714862439. OCLC 805600556.{{cite book}}: CS1 maint: multiple names: authors list (link) CS1 maint: numeric names: authors list (link)
  2. ^ Chilvers, Ian and John Glaves-Smith. A Dictionary of Modern and Contemporary Art. Oxford University Press (2009), p. 503
  3. ^ Craft, pp.10–11
  4. ^ Karpel, Bernard (1989). The Dada Painters and Poets: An Anthology. Harvard University Press. ISBN 9780674185005. from the original on 2015-12-22. Retrieved 2015-12-12.
  5. ^ Brill, p.101
  6. ^ Alan Young, Dada and After: Extremist Modernism and English Literature, Manchester University 1983, pp.201–3 2015-12-22 at the Wayback Machine and Brill, pp.104–5
  7. ^ Glancey, Jonathan (2007-06-13). "Merde d'artiste: not exactly what it says on the tin". The Guardian. London. Retrieved 2010-05-22.
  8. ^ Robert Goldwater in A Dictionary of Modern Sculpture, London 1962, pp.277–8
  9. ^ Margherita d'Ayala-Valva, "Spoerri reads Rumohr", chapter 4 in The Taste of Art: Cooking, Food, and Counterculture in Contemporary Practices, University of Arkansas 2017, p.78
  10. ^ Bertram Mourits, The Conceptual Poetic of K. Schippers: the aesthetic implications of literary readymades, Dutch Crossing 21.1, pp.119–34
  11. ^ Hugo Brems, Contemporary Poetry of the Low Countries, Flemish Netherlands Foundation, 1995, p.20
  12. ^ Translation in Dutch Interior: Postwar Poetry of the Netherlands and Flanders, Columbia University 1984, pp.36–7 2015-12-22 at the Wayback Machine
  13. ^ Anna Katharina Schaffner, "How the Letters Learned to Dance: on language dissection in Dadaist, Digital and Concrete Poetry", in Avant-garde/Neo-avant-garde, Amsterdam 2005, pp.149–165 2015-12-22 at the Wayback Machine
  14. ^ Rick Poynor, "Rediscovering the Lost Art of the Typewriter", Design Observer, 28 May, 2014

Bibliography edit

  • Dorothée Brill, Shock and the Senseless in Dada and Fluxus, Dartmouth College 2010
  • Catherine Craft, An Audience of Artists: Dada, Neo-Dada, and the Emergence of Abstract Expressionism, University of Chicago 2012
  • Susan Hapgood, Neo-Dada: Redefining Art, 1958–62, Universe Books and American Federation of Arts (1994)
  • David Hopkins, Neo-avant garde, Amsterdam, New York 2006
  • Cecilia Novero, Antidiets of the Avant-Garde: From Futurist Cooking to Eat Art, University of Minnesota 2010
  • Owen Smith, Fluxus: The History of an Attitude, San Diego State University 1998

External links edit

January 01, 1970
dada, other, uses, disambiguation, movement, with, audio, visual, literary, manifestations, that, similarities, method, intent, with, earlier, dada, artwork, sought, close, between, daily, life, combination, playfulness, iconoclasm, appropriation, united, stat. For other uses see Neo Dada disambiguation Neo Dada was a movement with audio visual and literary manifestations that had similarities in method or intent with earlier Dada artwork It sought to close the gap between art and daily life and was a combination of playfulness iconoclasm and appropriation 1 In the United States the term was popularized by Barbara Rose in the 1960s and refers primarily although not exclusively to work created in that and the preceding decade There was also an international dimension to the movement particularly in Japan and in Europe serving as the foundation of Fluxus Pop Art and Nouveau realisme 2 Neo Dada has been exemplified by its use of modern materials popular imagery and absurdist contrast It was a reaction to the personal emotionalism of Abstract Expressionism and taking a lead from the practice of Marcel Duchamp and Kurt Schwitters denied traditional concepts of aesthetics 3 Contents 1 Trends 2 Poems 3 Artists linked with the term 4 See also 5 References 6 Bibliography 7 External linksTrends editInterest in Dada followed in the wake of documentary publications such as Robert Motherwell s The Dada Painters and Poets 1951 4 and German language publications from 1957 and later to which some former Dadaists contributed 5 However several of the original Dadaists denounced the label Neo Dada especially in its U S manifestations on the grounds that the work was derivative rather than making fresh discoveries that aesthetic pleasure was found in what were originally protests against bourgeois aesthetic concepts and because it pandered to commercialism 6 Many of the artists who identified with the trend subsequently moved on to other specialities or identified with different art movements and in many cases only certain aspects of their early work can be identified with it For example Piero Manzoni s Consacrazione dell arte dell uovo sodo Artistic consecration of the hard boiled egg 1959 which he signed with an imprint of his thumb or his cans of shit 1961 whose price was pegged to the value of their weight in gold satirizing the concept of the artist s personal creation and art as commodity 7 nbsp A Jean Tingueley fountain in Basel An allied approach is found in the creation of collage and assemblage as in the junk sculptures of the American Richard Stankiewicz whose works created from scrap have been compared with Schwitters practice These objects are so treated that they become less discarded than found objets trouves 8 Jean Tinguely s fantastic machines notoriously the self destructing Homage to New York 1960 were another approach to the subversion of the mechanical Although such techniques as collage and assemblage may have served as inspiration different terms were found for the objects produced both in the U S and in Europe Robert Rauschenberg labeled as combines such works as Bed 1955 which consisted of a framed quilt and pillow covered in paint and mounted on the wall Arman labeled as accumulations his collections of dice and bottle tops and as poubelles the contents of trash bins encased in plastic Daniel Spoerri created snare pictures tableaux piege of which the earliest was Kichka s Breakfast 1960 and in which the remains of a meal were glued to the cloth and mounted on the table top affixed to the wall 9 Poems editIn the Netherlands the poets associated with the magazine for texts Barbarber 1958 71 particularly J Bernlef and K Schippers extended the concept of the readymade into poetry discovering poetic suggestiveness in such everyday items as a newspaper advert about a lost tortoise and a typewriter test sheet 10 Another group of Dutch poets infiltrated the Belgian experimentalist magazine Gard Sivik and began to fill it with seemingly inconsequential fragments of conversation and demonstrations of verbal procedures The writers included C B Vaandrager Hans Verhagen and the artist Armando On this approach the critic Hugo Brems has commented that the poet s role in this kind of poetry was not to discourse on reality but to highlight particular fragments of it which are normally perceived as non poetic These poets were not creators of art but discoverers 11 The impersonality that such artists aspired to was best expressed by Jan Schoonhoven 1914 94 the theorist of the Dutch Nul group of artists to which Armando also belonged Zero is first and foremost a new conception of reality in which the individual role of the artist is kept to a minimum The Zero artist merely selects isolates parts of reality materials as well as ideas stemming from reality and exhibits them in the most neutral way The avoidance of personal feelings is essential to Zero 12 This in turn links it with some aspects of Pop Art and Nouveau Realiste practice and underlines the rejection of Expressionism The beginnings of Concrete Poetry and text montage in the Wiener Gruppe have also been referred back to the example of Raoul Hausmann s letter poems 13 Such techniques may also owe something to H N Werkman s typographical experiments in the Netherlands which had first been put on display in the Stedelijk Museum in 1945 14 Artists linked with the term editArman Genpei Akasegawa Joseph Beuys Jaap Blonk Lee Bontecou George Brecht John Cage Cesar John Chamberlain Christo Merce Cunningham Jim Dine Jacques Halbert Dick Higgins Kommissar Hjuler Jasper Johns Allan Kaprow Yves Klein Alison Knowles George Maciunas Piero Manzoni Neo Dada Organizers Claes Oldenburg Yoko Ono Robin Page Nam June Paik Robert Rauschenberg Niki de Saint Phalle Ushio Shinohara Daniel Spoerri Richard Stankiewicz Jean Tinguely Jacques Villegle Wolf Vostell Masunobu YoshimuraSee also editAnti artReferences edit Collins Bradford R 1942 2012 Pop art the independent group to Neo pop 1952 90 London Phaidon ISBN 9780714862439 OCLC 805600556 a href Template Cite book html title Template Cite book cite book a CS1 maint multiple names authors list link CS1 maint numeric names authors list link Chilvers Ian and John Glaves Smith A Dictionary of Modern and Contemporary Art Oxford University Press 2009 p 503 Craft pp 10 11 Karpel Bernard 1989 The Dada Painters and Poets An Anthology Harvard University Press ISBN 9780674185005 Archived from the original on 2015 12 22 Retrieved 2015 12 12 Brill p 101 Alan Young Dada and After Extremist Modernism and English Literature Manchester University 1983 pp 201 3 Archived 2015 12 22 at the Wayback Machine and Brill pp 104 5 Glancey Jonathan 2007 06 13 Merde d artiste not exactly what it says on the tin The Guardian London Retrieved 2010 05 22 Robert Goldwater in A Dictionary of Modern Sculpture London 1962 pp 277 8 Margherita d Ayala Valva Spoerri reads Rumohr chapter 4 in The Taste of Art Cooking Food and Counterculture in Contemporary Practices University of Arkansas 2017 p 78 Bertram Mourits The Conceptual Poetic of K Schippers the aesthetic implications of literary readymades Dutch Crossing 21 1 pp 119 34 Hugo Brems Contemporary Poetry of the Low Countries Flemish Netherlands Foundation 1995 p 20 Translation in Dutch Interior Postwar Poetry of the Netherlands and Flanders Columbia University 1984 pp 36 7 Archived 2015 12 22 at the Wayback Machine Anna Katharina Schaffner How the Letters Learned to Dance on language dissection in Dadaist Digital and Concrete Poetry in Avant garde Neo avant garde Amsterdam 2005 pp 149 165 Archived 2015 12 22 at the Wayback Machine Rick Poynor Rediscovering the Lost Art of the Typewriter Design Observer 28 May 2014Bibliography editDorothee Brill Shock and the Senseless in Dada and Fluxus Dartmouth College 2010 Catherine Craft An Audience of Artists Dada Neo Dada and the Emergence of Abstract Expressionism University of Chicago 2012 Susan Hapgood Neo Dada Redefining Art 1958 62 Universe Books and American Federation of Arts 1994 David Hopkins Neo avant garde Amsterdam New York 2006 Cecilia Novero Antidiets of the Avant Garde From Futurist Cooking to Eat Art University of Minnesota 2010 Owen Smith Fluxus The History of an Attitude San Diego State University 1998External links editCollection Dada and Neo Dada from the University of Michigan Museum of Art Neo Dada collection from the Guggenheim Museums and Foundation Retrieved from https en wikipedia org w index php title Neo Dada amp oldid 1214172570, wikipedia, wiki, book, books, library,

article

, read, download, free, free download, mp3, video, mp4, 3gp, jpg, jpeg, gif, png, picture, music, song, movie, book, game, games.