DADA NOTES
CONTEXT: Reaction to the horrors of the war. Saw World War 1 as the result of man’s justification for
violence through reason. These artists questioned the rationale for war as it was this that had created
and justified war. They rejected reason because rational thought was ine ective in solving the world’s
problems. Precursor of Surrealism and also influenced Pop Art and Conceptual Art.
ART AS AN IDEA: Concept vs. product. Art becomes subordinate to an idea therefore the beginnings of
Conceptual Art. The idea in this instance is that of protest against war & the values of a society that
condones war. Therefore, ANTI WAR, ANTI ART, ANTI TASTE – hence PROTEST against norms &
conventions of society. Links to the International spirit of despair. Negative psychology. Pessimistic. As
a result, SHOCK tactics, nihilism, cynicism and anarchy defined their approach to art. The term nihilism
is sometimes used to explain the general mood of despair at a perceived pointlessness of existence that
one may develop upon realizing there are no necessary norms, rules, or laws. Existential. nihilism argues
that life is without objective meaning, purpose, or intrinsic value.
NEW TECHNOLOGY/MEDIUM: Their rejected reason a ected their approach to making art, their
choices regarding materials and techniques. Methods - Non-traditional because of the ready-made.
Would purchase an object from a store, or simply remove an object from its functional space and place
it in a new environment. Here it would no longer have any relationship with its primary function. Chance
e ects were achieved by removing control from the art making process. READY MADE, non-art objects.
Non-artistic ready-made materials. Any readymade non-art object on its own could be displayed as ‘art’
if it is disassociated from its original context, use & meaning. The mass-produced object displaced the
idea of artistic originality & the sacred uniqueness of the original work of art. Dada discouraged
aesthetics, rejected GOOD TASTE.
CONTRIBUTION: What is art? Dadaists asked this and it continues to be the most important dilemma
of the 20th century. Introduced conceptual approach to art, There anti aesthetic processes results in
the acceptance of ready-mades and chance e ects as viable methods. Ironically, once accepted, shock
was compromised and Dadaists disbanded
, DADA: MARCEL DUCHAMP
“L.H.O.O.Q” (1919)
DESCRIPTION: Ready-made reproduction of Da Vinci’s Mona Lisa- assisted by Duchamp with a
moustache and goatee. Image looks vandalised.
INFLUENCE & CONTEXT: Da Vinci. WW1
INTERPRETATION & SYMBOLISM: L.H.O.O.Q - play on words “ she has a hot behind” suggests sexual
content Da Vinci’s sexuality called into question. Mockery
HUMAN PSYCHOLOGY & BEHAVIOUR: The Dadaists were outraged at the fact that “civilized” society
could allow the likes of WW. Attack the norms and standards of culture and art. Attack “sacred cow” of
Art – results in shock. Work is a subjective and emotionally –based response to their time and context.
ART AS A REFLECTION OF SOCIETY: Art reflects the unease and horror of the time. Everything
society holds dear is destroyed and defaced. Makes a mockery of logic and order and aesthetic ideals
(what art looks like and what is considered to be beautiful). Gender – questions Da Vinci’s sexuality?
Attacks icons of feminine beauty.
TECHNOLOGY / NEW MEDIA: Ready-made and assisted ready-made. Spontaneity
ART AS IDEA (meaning in material/ universal comment/ concept VS product) Concept is greater than
the process of making art – as Duchamp relies on a replica postcard of the original painting. Very little
technical e ort – humour and mockery dominate.
, DADA: MARCEL DUCHAMP
“FOUNTAIN” (1917)
DESCRIPTION: Ready-made porcelain urinal. Displayed upside down, presented as an artwork and
signed as “ R. Mutt”
INFLUENCE & CONTEXT: Machinery (increase in machinery production during ww1 for tanks and
weapons)
INTERPRETATION & SYMBOLISM: Mockery and tongue-in-cheek poke at a traditional “fountain”. Is
not connected to a water source though traditionally it would be when used as a urinal. Fountains
associated with opulence and wealth (Traditionally beautiful.)
HUMAN PSYCHOLOGY & BEHAVIOUR: Viewer is confused and questions what art can be???
Subjective response from the artist to atrocities of WW1.
ART AS A REFLECTION OF SOCIETY: Art reflects the unease and horror of the time. Everything
society holds dear is destroyed and defaced. Makes a mockery of logic and order and aesthetic ideals
(what art looks like and what is considered to be beautiful). This is the kind of art that reflects society’s
ideals (those same ideals that Duchamp blames WW1 for)
TECHNOLOGY/NEW MEDIA: Ready-made. Definition of what art can be is destroyed?
ART AS IDEA: ( meaning in material/ universal comment/ concept VS product) Duchamp is anti-art
and seeks out to destroy any definition of art. Anti-aesthetic. Idea is bigger than the process or end
product. [Duchamp is father of Conceptual Art]
CONTEXT: Reaction to the horrors of the war. Saw World War 1 as the result of man’s justification for
violence through reason. These artists questioned the rationale for war as it was this that had created
and justified war. They rejected reason because rational thought was ine ective in solving the world’s
problems. Precursor of Surrealism and also influenced Pop Art and Conceptual Art.
ART AS AN IDEA: Concept vs. product. Art becomes subordinate to an idea therefore the beginnings of
Conceptual Art. The idea in this instance is that of protest against war & the values of a society that
condones war. Therefore, ANTI WAR, ANTI ART, ANTI TASTE – hence PROTEST against norms &
conventions of society. Links to the International spirit of despair. Negative psychology. Pessimistic. As
a result, SHOCK tactics, nihilism, cynicism and anarchy defined their approach to art. The term nihilism
is sometimes used to explain the general mood of despair at a perceived pointlessness of existence that
one may develop upon realizing there are no necessary norms, rules, or laws. Existential. nihilism argues
that life is without objective meaning, purpose, or intrinsic value.
NEW TECHNOLOGY/MEDIUM: Their rejected reason a ected their approach to making art, their
choices regarding materials and techniques. Methods - Non-traditional because of the ready-made.
Would purchase an object from a store, or simply remove an object from its functional space and place
it in a new environment. Here it would no longer have any relationship with its primary function. Chance
e ects were achieved by removing control from the art making process. READY MADE, non-art objects.
Non-artistic ready-made materials. Any readymade non-art object on its own could be displayed as ‘art’
if it is disassociated from its original context, use & meaning. The mass-produced object displaced the
idea of artistic originality & the sacred uniqueness of the original work of art. Dada discouraged
aesthetics, rejected GOOD TASTE.
CONTRIBUTION: What is art? Dadaists asked this and it continues to be the most important dilemma
of the 20th century. Introduced conceptual approach to art, There anti aesthetic processes results in
the acceptance of ready-mades and chance e ects as viable methods. Ironically, once accepted, shock
was compromised and Dadaists disbanded
, DADA: MARCEL DUCHAMP
“L.H.O.O.Q” (1919)
DESCRIPTION: Ready-made reproduction of Da Vinci’s Mona Lisa- assisted by Duchamp with a
moustache and goatee. Image looks vandalised.
INFLUENCE & CONTEXT: Da Vinci. WW1
INTERPRETATION & SYMBOLISM: L.H.O.O.Q - play on words “ she has a hot behind” suggests sexual
content Da Vinci’s sexuality called into question. Mockery
HUMAN PSYCHOLOGY & BEHAVIOUR: The Dadaists were outraged at the fact that “civilized” society
could allow the likes of WW. Attack the norms and standards of culture and art. Attack “sacred cow” of
Art – results in shock. Work is a subjective and emotionally –based response to their time and context.
ART AS A REFLECTION OF SOCIETY: Art reflects the unease and horror of the time. Everything
society holds dear is destroyed and defaced. Makes a mockery of logic and order and aesthetic ideals
(what art looks like and what is considered to be beautiful). Gender – questions Da Vinci’s sexuality?
Attacks icons of feminine beauty.
TECHNOLOGY / NEW MEDIA: Ready-made and assisted ready-made. Spontaneity
ART AS IDEA (meaning in material/ universal comment/ concept VS product) Concept is greater than
the process of making art – as Duchamp relies on a replica postcard of the original painting. Very little
technical e ort – humour and mockery dominate.
, DADA: MARCEL DUCHAMP
“FOUNTAIN” (1917)
DESCRIPTION: Ready-made porcelain urinal. Displayed upside down, presented as an artwork and
signed as “ R. Mutt”
INFLUENCE & CONTEXT: Machinery (increase in machinery production during ww1 for tanks and
weapons)
INTERPRETATION & SYMBOLISM: Mockery and tongue-in-cheek poke at a traditional “fountain”. Is
not connected to a water source though traditionally it would be when used as a urinal. Fountains
associated with opulence and wealth (Traditionally beautiful.)
HUMAN PSYCHOLOGY & BEHAVIOUR: Viewer is confused and questions what art can be???
Subjective response from the artist to atrocities of WW1.
ART AS A REFLECTION OF SOCIETY: Art reflects the unease and horror of the time. Everything
society holds dear is destroyed and defaced. Makes a mockery of logic and order and aesthetic ideals
(what art looks like and what is considered to be beautiful). This is the kind of art that reflects society’s
ideals (those same ideals that Duchamp blames WW1 for)
TECHNOLOGY/NEW MEDIA: Ready-made. Definition of what art can be is destroyed?
ART AS IDEA: ( meaning in material/ universal comment/ concept VS product) Duchamp is anti-art
and seeks out to destroy any definition of art. Anti-aesthetic. Idea is bigger than the process or end
product. [Duchamp is father of Conceptual Art]
