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Yves Klein (April 28, 1928 – June 6, 1962) (see Neo-Dada) Hans Leybold (April 2, 1892 – September 8, 1914) Filippo Tommaso Marinetti (December 22, 1876 – December 2, 1944)
Dada or Dadaism was an art movement of the European avant-garde in the early 20th century. It began in Zürich, Switzerland, in 1916, and spread to Berlin shortly thereafter. [33] To quote Dona Budd's The Language of Art Knowledge, Dada was born out of negative reaction to the horrors of World War I.
DaDa is the eighth solo studio album by American rock singer Alice Cooper, released in September 1983, by Warner Bros. Records. DaDa would be Cooper's final studio album until his sober re-emergence in 1986 with the hard rock album Constrictor .
Dada (sometimes called Dadaism) is a post-World War I cultural movement in visual art as well as literature (mainly poetry), theatre and graphic design.The movement was a protest of the barbarism of the war; its works were characterized by a deliberate irrationality and the rejection of the prevailing standards of art.
Marcel Duchamp, photograph published in Les Peintres Cubistes, 1913. This is an incomplete list of works by the French artist Marcel Duchamp (28 July 1887 – 2 October 1968), painter, sculptor, chess player, and writer whose work is associated with Cubism, conceptual art, and Dada.
[6] An active artist, primarily a photographer, as well as activist in the service of modern art, Stieglitz provided an avenue for the thought and work of the proto-Dada artists as well as the Dada artists with his journal and gallery, both named 291. Stieglitz first made contact with the (soon to be) Dadaists at the notorious Armory show of ...
From Expressionism through Dadaism, Constructivism and Neoplasticism, he was one of the major figures of avant-garde art in the 1910s and 1920s [3] and a catalyst for intellectuals and artists in many disciplines. Richter helped organise exhibitions which revived interest in Dada, both in the United States and Europe.
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]