DADAISM

2.  it was an idea, a kind of “anti-art”, predicated
on nihilist (from the Latin word nihil, meaning
“nothing”).
 A protest against the bourgeois nationalist
which many Dadaists believed was the root
cause of the war.
 An anti-Art for everything that art stood for
 To represent the opposite

3. The post-World War I cultural movement,
The political,
social and
cultural ideas

4.  Hugo Ball
 JeanArp
 Francis Picabia
 TristanTzara
 Marcel Duchamp

5.  Chance and Nonsense
 "Ready-Made" Objects
 Ephemera and Offense
 Irony

7.  Hans Arp
 Marcel Duchamp
 Francis Picabia
 Marx Ernst
 Man Ray
 Kurt Schwitters

8. Dada Movement
Max Ernst - At the Rendez-
vous of Friends 1922
Seated from left to right:
René Crevel, Max Ernst,
Dostoievsky, Théodore
Fraenkel, Jean Paulhan,
Benjamin Péret, Johannes
Baargeld, Robert Desnos.
Standing: Philippe Soupault,
Jean Arp, Max Morise,
Raphaël, Paul Éluard, Louis
Aragon, André Breton,
Giorgio de Chirico, Gala
Éluard

9.  Poet and Sculptor Jean
Arp / Hans Arp
(16 September 1886 –
7 June 1966) was a
German/French
sculptor, painter, poet
and a founding
member of Dadaism.

10.  (28 July 1887 – 2
October 1968) was a
French artist whose
work is most often
associated with the
Dadaist and Surrealist
movements.
 Considered by some to
be one of the most
important artists of the
20th century,

11.  Francis Picabia (1879-
1953)
 The drawing Universal
Prostitution (1916–19)
and the painting
Amorous Procession
(1917) are typical of his
Dadaist phase.
 Their association were
successfully shocking
satires of bourgeois
values.

12.  Max Ernst (1891-1976):
Painter, Sculptor, Graphic
Artist, Poet
 He founded a Dada group
in Cologne in 1919.
 “Art has nothing to do with
taste. Art is not there to be
tasted”
--Max Ernst

13.  Painter Photographer
Man Ray (August
27, 1890 – November
18, 1976),
 Born Emmanuel
Radnitzky, was an
American artist who
spent most of his career
in Paris, France.
 He was a significant
contributor to both the
Dada and Surrealist
movements.

14.  Kurt Schwitters CollageArtist Kurt Hermann
Eduard Karl Julius Schwitters (20 June 1887 –
8 January 1948) was a German painter who
was born in Hanover, Germany.
 Schwitters worked in several genres and
media, including Dada, Surrealism, poetry,
sound, painting, sculpture, graphic design,
typography and what came to be known as
installation art.

15.  PAINTINGS
 DRAWINGS
 COLLAGE
 SOUND
 READYMADES
 SCULPTURE
 VISUAL ARTS
 LITERATURE
 THEATRE
 PHOTOMONTAGE
 ASSEMBLAGE

16.  PENCIL
 CRAYON
 PAPER
 READYMADES OR FOUND ARTS
 SCISSORS
 GLUE
 prefabricated objects like stuffed
animals, prints of old paintings or
photographs and ticket stubs, and
other artists caught on

19.  Photograph by Alfred Stieglitz

22. Francis Picabia,
L'Oeilcacodylate, 1921
Medium/Dimension:
148.6 x 117.
oil on canvas, with collaged
photographs, postcards and
other papers
Meaning/Function:
"Cacodylate" is an oily,
slightly water-soluble,
poisonous liquid compound
composed of two chemical
groups that has a vile, garlic-
like odor and that undergoes
spontaneous combustion in
dry air. Eye of cacophanous
dilation" with its Rabelaisian
flatulence and eye-as-
asshole

23. Cut with the Dada Kitchen
Knife through the Last
Weimar Beer-Belly Cultural
Epoch in
Germany, 1919, collage of
pasted
papers, 90×144 cm, National
galerie, Staatliche Museen zu
Berlin
Hannah Hoch: Cut with the
Kitchen Knife Dada through
the Last Weimar Beer Belly
Cultural Epoch of Germany,
1919-20, photomontage,
3'9 x 2'11

24. Francis Picabia (French, 1879–
1953)"M'Amenez-y"
Date:1919-20
Medium:Oil on cardboard
Dimensions:
50 3/4 x 35 3/8" (129.2 x 89.8 cm)
This work delivers a barrage of
puns, transforming the language
of fine art into one far less refined.
The inscription at the top,
Portrait a l’huile de Ricin! (Portrait
with castor oil),
connects castor oil, a foul-smelling
substance, with l’huile de lin
(linseed oil), the binder used in oil
paint.

25. Johannes Baader (German,
1875–1955)
The Author of the Book "Fourteen
Letters of Christ" in His Home
Date:(1920)
Medium:
Cut-and-pasted gelatin silver
prints, cut-and-pasted printed
paper, and ink on book
pages
Dimensions:
8 1/2 x 5 3/4" (21.6 x 14.6 cm)
June 18–September 11, 2006
In this photomontage, Baader
presents a photograph of a
domestic space in which various
Dada ephemera hangs on the
wall at upper left. A figure has
been cut out of the center of the
photograph to reveal the image of
Baader's dummy exhibited at the
Berlin Dada Fair in 1920. This
work is, in fact, a sophisticated
self-portrait of Baader in his
persona as the "Oberdada," a
parody of a high-ranking military
figure (ex.Oberleutnant) of the
Dada "troupes

26. George Grosz (American, 1893–
1959. Born and died in Germany)
Date:(1920)
Medium:
Watercolor, ink, pencil, and cut-and-
pasted printed paper on paper
Dimensions:
16 1/2 x 12" (41.9 x 30.5 cm)
June 18–September 11, 2006
The title refers to the artist’s close
friend and collaborator John Heartfield,
while the face is that of Grosz himself.
The figure’s uniform and the drab,
spartan surroundings suggest a
sanatorium, where both artists spent
time: Heartfield in 1915, after having
feigned a nervous breakdown during
his military service; and Grosz in 1917,
after having suffered or simulated
mental instability just one month after
he was drafted. Pasted fragments of a
postcard, including the words "Good
luck in [your] new home," serve as a
window for the tiny cell. Franz Jung,
referred to in the title, was an
expressionist writer and founding
member of Club Dada.

27. Sophie Taeuber-
Arp (Swiss, 1889–1943)
Dada Head
Date:1920
Medium: Painted wood
with glass beads on wire
Dimensions:9 1/4" high
(23.5 cm)
June 18–September 11,
2006
The artist referred to this
turned-wood sculpture as
a portrait, although it
betrays no interest in
naturalistic, physical
resemblance. Instead,
the design creates a
masklike face that is
reminiscent of Oceanic
and Northwest Coast
Indian artifacts.

28. Man Ray
(American, 1890–1976)
Indestructible Object (or
Object to Be Destroyed)
Date:
1964 Medium:
Metronome with cutout
photograph of eye on
pendulum
Dimensions:
8 7/8 x 4 3/8 x 4 5/8" (22.5
x 11 x 11.6 cm)
Man Ray dated this work
1923, though it was
transformed in 1932 when
he substituted a
photograph of the eye of
Lee Miller—a
photographer and the
artist’s assistant, model,
and lover—for the original
eye he had use.

29. To be looked at with
one eye, Close to, for
almost an hour
Marcel Duchamp
Mediums
Oil paint
Silver leaf
Lead wire
Magnifying lens glass
Overall height 22 in.
(55.8 cm.)
A pyramidal shape
pointed on a glass
surface is titled
slightly by the
weight of a circle.

30. Marcel Duchamp,
Fresh
Widow, 1920
Medium:
Miniature French window, painted
wood frame, and panes of glass
covered with black leather
Dimensions:
30 1/2 x 17 5/8" (77.5 x 44.8 cm), on
wood sill 3/4 x 21 x 4" (1.9 x 53.4
x 10.2 cm)
This is a small replica of a traditional
French window.The glass panes are
covered with black leather that
Duchamp insisted "should be shined
every day like shoes."With the
inscription along the base, Duchamp
turned an inanimate French window
into an anthropomorphic "Fresh
Widow," which was, he felt, "an obvious
enough pun."

31. The Dancer, 1928
By Jean Arp, 20 x 15 ½ in.
(50.8 x 39.4 cm.) Cord
Collage
A small head bulky torso with a
circle in the center.The figure’s
slight tilt, the position of the left
leg, and the upward curve of the
right leg create a convincing
impression of forward motion.The
dancer literally seems to kick up
her heel,” which together with the
flowing hair evoked by a single
strand of string, convincing
impression of forward motion and
a feeling of movement through
space

32. Conversation II
, c. 1922
Francis Picabia
Watercolour and graphite
on paper
17 7/8 x 23 7/8 inches
45.4 x 60.6 cm)
Conversation, made three
years later, also links the
measurable (the carefully
delineated stripes) and the
sensual (the nude female
torsos).

33. La Nuit
Espangnole,
c.1922
By: Francis
Picabia
Size
without border:
21 x 26.5 in
•23.5 x 31.5 in

34. Nude Descending a
Staircase, No. 2, 1912
By: Marcel Duchamp
Size
without border: 15 x 24.5 in
•24 x 30 in

35. Voliere, 1919
By: Man Ray
Size
without border: 12 x 16 in
•16 x 20 in

36. Ursachen Der Sonne,
1960
By: Max Ernst
Size
without border: 21.5 x 27 in
•27.5 x 35.5 in

37. Cut-and-pasted colored and
printed papers,
cloth, wood, metal, cork, oil,
pencil and ink on board
36 1/8 x 27 3/4 in.
(91.8 x 70.5 cm)
The Museum of Modern Art,
NewYork

38. King playing
with the Queen
Max Ernst
Bronze
38 ½ in. (97.8 cm.) high at the base of 18 ¾ x 20 ½ in. (47.7 x 52.1 cm.)