- - The original note follows - -
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From: yunus@xxxxxxxxxxxxxxxxxxx
Subject: Dada
Message-ID: <1993Mar14.051230.19015@xxxxxxxxxxxxxxxxxxx>
Sender: news@xxxxxxxxxxxxxxxxxxx (Mr News)
Organization: DSO, Stanford University
Date: Sun, 14 Mar 93 05:12:30 GMT
Lines: 68
DADA
art historical and political and social historical
- art history : a period of much styleism, and conformity, though also of
growing unrest
- political : World War I, a rationalization of something irrational or
unreasonable
- social : end of the growing progress, hope and faith, that was the span
of the Industrial Revolution. now people had to start dealing with what the
world they had created is, rather than just create more. incontinuation of
other trends of the time
The interest in much ada art was the event itself rather than the work
produced. Witness Marcel Duchamp's readymades, Tristan Tzara's and Andre
Breton's recipes for making poetry and prose respectively. Thus someone now
a days to create the same events, is of no interest. Since those acts have
been accepted by the art world, accomplishing the same things is no longer a
protest of the art market, but "adapting to it"
This also brings in a new use for art. In the creations of the
ready-mades, the concepts of producer and receiver are destroyed. As a result
the art is no longer useful to an art market, to a museum, or to other
viewers. Art becomes a means by which the artist can"better his way of
living". He does it for himself, and for his own enjoyment.
another consequence of the Dadaist anti-art, was the destruction, the
ultimate protest, against all the traditional art. the Dadaists were trying,
through their supposedly senseless, art, anti-art, to announce the
apocalyptical end of art. It was to have no future after Dada. They were
destroying it by trying to express through their art that art was a con, a
lie, not a means of personal expression. However, in using art for this very
purpose, they underlie their own goals. Whether they were using art to
express the beauty of a sunday afternoon or to express the uselessness of
traditional art, they were using art as a form of expression. They therefor
fell inevitably into the trap of proving themselves wrong. If one
demonstrates rationally that reason does not work, one has nonetheless proved
its effectiveness. Thus the achievement their provocation id result in was a
broadening of the general view as to the form of art.
After the Dadaists, people were willing to accept these shocking new
forms of art as art: sculptures of industrial material, paintings of everyday
scenes, etc. the Dadaists even succeeded in having pieces they did not create
themselves, everyday objects, chosen arbitrarily, chosen in fact with the very
intention of making them totally an-aesthetical, neither pleasant nor pretty
nor beautiful nor quaint, and not even ugly--they succeed in having these
pieces seen as art. This is the hey achieved in having that accepted as art
then all can be accepted as art. The great contribution of the Dada movement
to the art world is the acceptance of everything as possibly being art. if
words pulled randomly from a hat can be considered poetry, than anything can
be considered poetry, etc.
The consequence of this has often been the unfortunate creation , and
development of uninteresting styles and works of art. Since dada and
surrealism, art has gone down hill in that way, only because it has still
clung to both the notion of traditional art and the will to shock it, rock it,
protest against it. Artists such as jeff Coons have continued to make
ready-mades thinking of being protesting against the art-market and materials,
but in fact understanding little of the unimportance of their work.
the revolution has already taken place under the dadaists an
surrealists and futurists, it is now time to take advantage of it, and not to
prolong it. If as I said earlier, one takes it that the Dada movement
revolutionized the art world into accepting all forms of art, than one can
come back to traditional art. No longer is traditional art a lie or a scam,
but no longer is it either superior to a bottle rack or a urinal industrially
produced with no aesthetic goals whatsoever. therefore one can come back to
viewing it for whatever it may be worth. Furthermore since now the artistic
process has become individualized instead of stratified into the producer and
the receiver, since now, the producer is a receiver, and the receiver a
producer, all art can be appreciated by all for all.
- how we can look at it now. Do the art pieces of the Dad movement have
the same meaning, power today as they did originally.
- how art that was made subsequently was influenced by the dada movement.
Xref: news.ysu.edu alt.artcom:117
Newsgroups: alt.artcom
Path:
psuvm!news.ysu.edu!usenet.ins.cwru.edu!agate!stanford.edu!nntp.Stanford.EDU!news
From: yunus@xxxxxxxxxxxxxxxxxxx
Subject: Dada
Message-ID: <1993Mar14.051230.19015@xxxxxxxxxxxxxxxxxxx>
Sender: news@xxxxxxxxxxxxxxxxxxx (Mr News)
Organization: DSO, Stanford University
Date: Sun, 14 Mar 93 05:12:30 GMT
Lines: 68
DADA
art historical and political and social historical
- art history : a period of much styleism, and conformity, though also of
growing unrest
- political : World War I, a rationalization of something irrational or
unreasonable
- social : end of the growing progress, hope and faith, that was the span
of the Industrial Revolution. now people had to start dealing with what the
world they had created is, rather than just create more. incontinuation of
other trends of the time
The interest in much ada art was the event itself rather than the work
produced. Witness Marcel Duchamp's readymades, Tristan Tzara's and Andre
Breton's recipes for making poetry and prose respectively. Thus someone now
a days to create the same events, is of no interest. Since those acts have
been accepted by the art world, accomplishing the same things is no longer a
protest of the art market, but "adapting to it"
This also brings in a new use for art. In the creations of the
ready-mades, the concepts of producer and receiver are destroyed. As a result
the art is no longer useful to an art market, to a museum, or to other
viewers. Art becomes a means by which the artist can"better his way of
living". He does it for himself, and for his own enjoyment.
another consequence of the Dadaist anti-art, was the destruction, the
ultimate protest, against all the traditional art. the Dadaists were trying,
through their supposedly senseless, art, anti-art, to announce the
apocalyptical end of art. It was to have no future after Dada. They were
destroying it by trying to express through their art that art was a con, a
lie, not a means of personal expression. However, in using art for this very
purpose, they underlie their own goals. Whether they were using art to
express the beauty of a sunday afternoon or to express the uselessness of
traditional art, they were using art as a form of expression. They therefor
fell inevitably into the trap of proving themselves wrong. If one
demonstrates rationally that reason does not work, one has nonetheless proved
its effectiveness. Thus the achievement their provocation id result in was a
broadening of the general view as to the form of art.
After the Dadaists, people were willing to accept these shocking new
forms of art as art: sculptures of industrial material, paintings of everyday
scenes, etc. the Dadaists even succeeded in having pieces they did not create
themselves, everyday objects, chosen arbitrarily, chosen in fact with the very
intention of making them totally an-aesthetical, neither pleasant nor pretty
nor beautiful nor quaint, and not even ugly--they succeed in having these
pieces seen as art. This is the hey achieved in having that accepted as art
then all can be accepted as art. The great contribution of the Dada movement
to the art world is the acceptance of everything as possibly being art. if
words pulled randomly from a hat can be considered poetry, than anything can
be considered poetry, etc.
The consequence of this has often been the unfortunate creation , and
development of uninteresting styles and works of art. Since dada and
surrealism, art has gone down hill in that way, only because it has still
clung to both the notion of traditional art and the will to shock it, rock it,
protest against it. Artists such as jeff Coons have continued to make
ready-mades thinking of being protesting against the art-market and materials,
but in fact understanding little of the unimportance of their work.
the revolution has already taken place under the dadaists an
surrealists and futurists, it is now time to take advantage of it, and not to
prolong it. If as I said earlier, one takes it that the Dada movement
revolutionized the art world into accepting all forms of art, than one can
come back to traditional art. No longer is traditional art a lie or a scam,
but no longer is it either superior to a bottle rack or a urinal industrially
produced with no aesthetic goals whatsoever. therefore one can come back to
viewing it for whatever it may be worth. Furthermore since now the artistic
process has become individualized instead of stratified into the producer and
the receiver, since now, the producer is a receiver, and the receiver a
producer, all art can be appreciated by all for all.
- how we can look at it now. Do the art pieces of the Dad movement have
the same meaning, power today as they did originally.
- how art that was made subsequently was influenced by the dada movement.