New York Dada
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| Like [[Zürich]], [[New York]] was a [[refuge]] for writers and artists from [[World War I]]. Soon after arriving from France in 1915, [[Marcel Duchamp]] and [[Francis Picabia]] met American artist [[Man Ray]]. By 1916 the three of them became the center of radical [[anti-art]] activities in the United States. American [[Beatrice Wood]], who had been studying in [[France]], soon joined them. Much of their activity centered in [[Alfred Stieglitz]]'s gallery, [[291]], and the home of [[Walter Conrad Arensberg|Walter and Louise Arensberg]]. | Like [[Zürich]], [[New York]] was a [[refuge]] for writers and artists from [[World War I]]. Soon after arriving from France in 1915, [[Marcel Duchamp]] and [[Francis Picabia]] met American artist [[Man Ray]]. By 1916 the three of them became the center of radical [[anti-art]] activities in the United States. American [[Beatrice Wood]], who had been studying in [[France]], soon joined them. Much of their activity centered in [[Alfred Stieglitz]]'s gallery, [[291]], and the home of [[Walter Conrad Arensberg|Walter and Louise Arensberg]]. | ||
| - | The New Yorkers, though not particularly organized, called their activities ''[[Dada]],'' but they did not issue manifestos. They issued challenges to art and culture through publications such as ''[[The Blind Man]]'', ''[[Rongwrong]]'', and ''New York Dada'' in which they criticized the traditionalist basis for ''museum'' art. New York Dada lacked the [[disillusionment]] of European Dada and was instead driven by a sense of irony and humor. In his book ''Adventures in the arts: informal chapters on painters, vaudeville and poets'' [[Marsden Hartley]] included an essay on "[[The Importance of Being 'Dada']]". | + | The New Yorkers, though not particularly organized, called their activities ''[[Dada]],'' but they did not issue manifestos. They issued challenges to art and culture through publications such as ''[[The Blind Man]]'', ''[[Rongwrong]]'', and ''[[New York Dada peridical|New York Dada]]'' in which they criticized the traditionalist basis for ''museum'' art. New York Dada lacked the [[disillusionment]] of European Dada and was instead driven by a sense of irony and humor. In his book ''Adventures in the arts: informal chapters on painters, vaudeville and poets'' [[Marsden Hartley]] included an essay on "[[The Importance of Being 'Dada']]". |
| During this time Duchamp began exhibiting "[[Readymades of Marcel Duchamp|readymades]]" (found objects) such as a bottle rack, and got involved with the [[Society of Independent Artists]]. In 1917 he submitted the now famous ''[[Fountain (Duchamp)|Fountain]]'', a urinal signed R. Mutt, to the Society of Independent Artists show only to have the piece rejected. First an object of scorn within the arts community, the ''[[Fountain (Duchamp)|Fountain]]'' has since become almost canonized by some. The committee presiding over [[uk|Britain]]'s prestigious [[Turner Prize]] in 2004, for example, called it "the most influential work of modern art." In an attempt to "pay homage to the spirit of Dada" a performance artist named [[Pierre Pinoncelli]] made a crack in The Fountain with a hammer in [[January 2006]]; he also urinated on it in 1993. | During this time Duchamp began exhibiting "[[Readymades of Marcel Duchamp|readymades]]" (found objects) such as a bottle rack, and got involved with the [[Society of Independent Artists]]. In 1917 he submitted the now famous ''[[Fountain (Duchamp)|Fountain]]'', a urinal signed R. Mutt, to the Society of Independent Artists show only to have the piece rejected. First an object of scorn within the arts community, the ''[[Fountain (Duchamp)|Fountain]]'' has since become almost canonized by some. The committee presiding over [[uk|Britain]]'s prestigious [[Turner Prize]] in 2004, for example, called it "the most influential work of modern art." In an attempt to "pay homage to the spirit of Dada" a performance artist named [[Pierre Pinoncelli]] made a crack in The Fountain with a hammer in [[January 2006]]; he also urinated on it in 1993. | ||
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| == New York Dada periodical == | == New York Dada periodical == | ||
| - | *Stein's 'portrait' 'Aux Galeries Lafayette' appeared in the New York Dada periodical | + | *[[Gertrude Stein]]'s 'portrait' ''[[Aux Galeries Lafayette]]'' appeared in the New York Dada periodical |
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Like Zürich, New York was a refuge for writers and artists from World War I. Soon after arriving from France in 1915, Marcel Duchamp and Francis Picabia met American artist Man Ray. By 1916 the three of them became the center of radical anti-art activities in the United States. American Beatrice Wood, who had been studying in France, soon joined them. Much of their activity centered in Alfred Stieglitz's gallery, 291, and the home of Walter and Louise Arensberg.
The New Yorkers, though not particularly organized, called their activities Dada, but they did not issue manifestos. They issued challenges to art and culture through publications such as The Blind Man, Rongwrong, and New York Dada in which they criticized the traditionalist basis for museum art. New York Dada lacked the disillusionment of European Dada and was instead driven by a sense of irony and humor. In his book Adventures in the arts: informal chapters on painters, vaudeville and poets Marsden Hartley included an essay on "The Importance of Being 'Dada'".
During this time Duchamp began exhibiting "readymades" (found objects) such as a bottle rack, and got involved with the Society of Independent Artists. In 1917 he submitted the now famous Fountain, a urinal signed R. Mutt, to the Society of Independent Artists show only to have the piece rejected. First an object of scorn within the arts community, the Fountain has since become almost canonized by some. The committee presiding over Britain's prestigious Turner Prize in 2004, for example, called it "the most influential work of modern art." In an attempt to "pay homage to the spirit of Dada" a performance artist named Pierre Pinoncelli made a crack in The Fountain with a hammer in January 2006; he also urinated on it in 1993.
Picabia's travels tied New York, Zürich and Paris groups together during the Dadaist period. For seven years he also published the Dada periodical 391 in Barcelona, New York City, Zürich, and Paris from 1917 through 1924.
By 1921, most of the original players moved to Paris where Dada experienced its last major incarnation (see Neo-Dada for later activity).
New York Dada periodical
- Gertrude Stein's 'portrait' Aux Galeries Lafayette appeared in the New York Dada periodical
