Marcel Weyland

Both artistic movements Dadaism and surrealism both depicted the human form in varying ways. The pieces Monument II: Vanity (1926) by Hannah Hoch and Untitled Photogram (1929) by Maurice Tabard, both exemplify the attempts made by each respective movement to depict human bodies in unconventional ways. Following the war, an expansion of industrial innovations emerged and had a significant impact on the content produced by Dada artists. The mechanization of the human form was developed out of the post-war

the Dada movement, because while few dadaist had direct contact with battlefields in WWI, the majority of the dadaist were impacted by the social and economic crisis that forced artists to move to Switzerland and rely on each other to form the Dada movement; the artists also rebel against WWI and nationalism through creating and sharing non-conventional art in the Cabaret Voltaire. Although only few dadaists had significant experience with the WWI, the majority of the dadaist were still impacted

- Surrealism means beyond or above reality; in other words, a type of super-reality. In the early 1920’s, German psychologist Sigmund Freud and other writers and artists began as a literary group, creating art that explored the hidden world of the unconscious. They believed their art was successful and soon after in 1929, Salvador Dali created his first piece of Surrealist art work. Dali then went to Paris for his first Surrealist exhibition. Surrealism was an artistic literary movement that André

Every single person has a gift, not all gifts are noticeable at first or help anyone in particular, but everyone posses something special. Some people can do two-digit multiplication in their heads, have the trait of leadership, be so convincing that everyone shares the same view as them, or just maybe have the gift to bake a perfect apple pie. But with every gift comes a curse; other people become jealous and remorseful of different gifts, or the gift holder becomes narcissistic and arrogant. The

Assignment 2: Main characteristics of Marcel Duchamp’s work that have been influential. Introduction “Can one make works which are not works of ‘art’?” Marcel Duchamp, A l’infinitif (The White Box), 1913 [xxx] Marcel Duchamp’s [1887-1968] influence on the modern art world is universally recognized. His legacy remains even today unparalleled; th In a ‘tradition breaking spirit’ [D’Alleva, 2012], that characterised modernist artists, early in the twentieth century, Duchamp abandoned traditional

Another technique frequently used by artists during postmodernism is “found object” art. Often, these works of art are portrayed in the form of sculptures, but they can be in almost any form and on any medium. This form of art consists of using random and everyday objects such as buttons, books, light bulbs, broken computers, glass, fabrics, and many other sorts of items. For example, an artist that works with found object art might take several kitchen utensils and place them together in a certain

Overall, the ideologies discussed within the articles Written In Blood: 20th Century Art by Stephanie Dudek and Estrangement As A Motif In Modern Painting by John Adkins Richardson address similarities and differences from various standpoints. Modernistic ideologies towards social, cultural and technological changes of the 20th century are demonstrated in both articles. The article by Stephanie Dudek emphasizes on the employment of radical and transgressive values by modern artists within their work

Marcel Duchamp was a French artist and a pioneer in the art world. He came up with art concepts no one would have thought to do for formal art shows ever. From mass produced object to reprinted copies of famous artwork, Duchamp did it all. In the years after World War I, Duchamp found success as a painter in Paris. But he soon gave up painting, explaining, “I was interested in ideas—not merely in visual products.” When Duchamp gave up painting he started working with mass produced items. Using mass

effect of this action. For example, the Berlin Biennale proposed by Artur Zmijewski together with the criticism it provoked which was described as a zoo for art activists. From the article the art component of art activism is a main reason for the activism failure on the pragmatic, practical level on the level of its immediate social and political impact. We also learn how art is seen useless traditionally and it is viewed that the quasi-ontological uselessness affects art activism and makes it fail

It is very beneficial to distil a concept to its essence to assist with the exploration of certain notions. Knowing what lies at the core of our subjective message as film makers will ultimately have the ability to capture the target audience more effectively, especially with an experimental production where the subject can be allusive or a test to grapple with. When discussing the experimental treatment of conceptual relevance, a good artistic reference for this is The Fluxus movement but more