Dada or Dadaism started more as a form of protest than art. The movement started at around the time of World War 1. It eventually metamorphosed into a kind of artistic anarchism driven by disgust for political, cultural, and social norms of that period. Dadaism had an anti-establishment agenda. Dadaism had a significant influence on art for a time. It was considered radical, experimental, and unorthodox concerning culture, art, and society. Artists, literary figures, and intellectuals were angry with modern society. Dada emergence can be traced around the time of literary and artistic movements like Expressionism, Futurism, and Cubism. The originating countries were mainly Italy, France, and Germany, respectively. Dadaism was able to establish a wide support base, unlike other movements. It, therefore, gained an international face. Major world centers such as Zurich, Paris, and Berlin had many adherents of Dadaism. Emphasis differed, according to the locality. For instance, Zurich was known for its literature and Berlin for its political protest.
Dadaism adherents felt World War 1 called into question all facets of society capable of starting and then prolonging it. Their objective was to end traditional values in culture, art, and society create them anew. Dadaism was against the war, the bourgeois class, and, in some instances, had political like-mindedness with the radical left. A lot of Dadaists believed that bourgeois capitalist tendencies had led the world into war. They articulated their denunciation of capitalism in artistic expressions that appeared to reject bourgeois reasoning and embrace irrationality and chaos ( Jacobus & Martin, 2018). They viewed theirs as an opportunity for the true perception and criticism of that period. Dadaism principally used poetry, visual arts, art manifestos literature, art theory, graphic design, and focused its anti-war politics. They did this by rejecting prevalent ideals in art through anti-art and anti-cultural engagements.
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Duchampism is the school of thought that produces art that are anti-art and anti-establishment, just like Dadaism. However, Duchampism works are funny, while Dadaism’s works are full of anger. Duchampism ideas dominate the medium, challenging traditional assumptions about art, particularly embodiment. It also embraces the rebellious repurposing of popular culture ( Kennicott, 2019). Duchampism comical nature can be traced from its originator Marcel Duchamp who was witty, funny, charming, and very intelligent. Many Duchampian artists also worked underground while Dadaism adherents preferred anarchy in the open.
In both Ducampism and Dadaism, small distinct ideas and not the striking notions or principles involved in the art take preference over general appealing material and disciplinary concerns. This is the reason why they are considered idea art. In idea art, the idea takes prominence in the concept of the artwork ( Jacobus & Martin, 2018). It may start a movement or transform the movement later. This is how Ducampism and Dadaism originated and expanded. In both fields of art, concepts dominate the medium, challenging long-held assumptions about art.
References
Jacobus, L. & Martin, D. (2018). The Humanities Through the Arts. McGraw-Hill Education
ISBN.13: 978-1-260-15418-4
Kennicott, P. (2019, November 19). Duchamp was all about playful subversion. That’s what
makes his presence in Washington so fitting. https://www.washingtonpost.com/entertainment/museums/duchamp-was-all-about-playful-subversion-thats-what-makes-his-presence-in-washington-so-fitting/2019/11/19/d74d4fa8-0a42-11ea-bd9d-c628fd48b3a0_story.html
