Marcel Duchamp - DADA

Dada this movement emerged in reaction to what many artist rejected the way art was appreciated and defined in contemporary art scenes. It began in New York and Zurich, also emerged in Paris, Berlin, and Cologne, among other cities. Dada was more a mind-set or attitude than a single identifiable style. Dadaists believed reason and logic had been responsible for the disaster of world war 1.Dada was not art, it was anti-art. Everything that art stood for, Dada represented the opposite, art was concerned with traditional aesthetics, and Dada ignored aesthetics. Art was to appeal to sensibilities, Dada was intended to offend. Dadaists hoped to destroy traditional culture and aesthetics. Dada's contempt for all traditional and established values and its derisive iconoclasm can be read at random from its numerous manifestos and declarations of intent: "Dada knows everything. Dada spits on everything. Dada says "knothing", Dada has no fixed ideas. Dada does not catch lies, Dada is bitterness laughing at everything that has been accomplished, sanctified....Dada is never right...No more painters, no more writers, no more religions, no more royalists, no more anarchists, no more socialists, no more police, no more airplanes, no more urinary passages...Like everything in life, Dada is useless, everything happens in a completely idiotic way... we are incapable of treating seriously and subject whatsoever, let alone this subject: ourselves. Dada was a phenomenon bursting forth in the midst of the post-war economic and moral crisis, a saviour, a monster, which would lay waste to everything in its path. a systematic work of destruction and demoralization... In the end it became nothing but the act of sacrilege."
Dada artist have been inspired by cynicism and pessimism artist, but what has been developed was much more phenomenally influential and powerful.
Dada artist developed new Techniques which are:

Collage
The Dadaists imitated the techniques developed during the cubist movement through the pasting of cut pieces of paper items, but extended their art to encompass items such as transportation tickets, maps, plastic wrappers, etc. to portray aspects of life, rather than representing objects viewed as still life.

Photomontage

The (Berlin) Dadaists used scissors and glue rather than paintbrushes and paints to express their views of modern life through images presented by the media.

Assemblage

The assemblages were three-dimensional variations of the collage, from everyday objects to produce meaningful or totally meaningless pieces of work.

Ready-mades

Marcel Duchamp began to view the manufactured objects of his manufactured objects collection as objects of art, which he called "ready-mades". He would add signatures and titles to some, converting them into artwork that he called "readymade aided" or "rectified ready-mades". One such example of Duchamp's readymade works is the urinal that was turned onto its back, signed "R. Mutt", titled "Fountain", and submitted to the Society of Independent Artists exhibition that year.


Marcel Duchamp
French artist whose work is most often associated with the Dadaist and Surrealist movements. he grew up in a family that liked cultural activities. He took drawing classes and learned academic drawing from his teacher, with failed attempted to protect his students from Impressionism, Post-Impressionism and other avant-garde influences. Duchamp's early art works influenced with Post-Impressionist, He experimented with classical techniques and subjects, as well as Cubism and Fauvism. Duchamp's first controversial work, Nude Descending a Staircase, No. 2 featured successive images of a body, giving the impression of movement the painting shows elements of both the fragmentation and synthesis of the Cubists, and the movement and dynamism of the Futurists. Duchamp known dada movement through a friend named Picabia who connected with the Dada group in Zurich since New York Dada had less tone than it was in Europe, it was not a organized. bringing to New York the Dada ideas of absurdity and anti-art. Together with Man Ray and many from the group that met almost nightly, Duchamp contributed his ideas about art and his humor to the New York activities, much of which ran concurrent with the development of ready-mades and The Large Glass.
Duchamp and Dada are connected by his work of Fountain, a urinal to the Society of Independent Artists exhibit in 1917.the show committee said that Fountain was not art and rejected it from the show causing an uproar amongst the Dadaists and led Duchamp to resign from the board of the Independent Artists. His Fountain, the urinal signed with the pseudonym R. Mutt that shocked the art world in 1917, was selected in 2004 as "the most influential artwork of the 20th century" by 500 renowned artists and historians. He then published along with Henri-Pierre Roché and Beatrice Wood, New York's Dada's magazine, The Blind Man which included art, literature, humor and commentary. When he went back to Paris after World War I, Duchamp did not participate in the Dada group.
In 1915 Duchamp began doing his "ready-mades" — found objects he chose and presented as art.
Duchamp's interest in kinetic works shows as early as the notes for The Large Glass and the Bicycle Wheel readymade, and despite losing interest in "retinal art" he retained interest in visual phenomena. In 1920, with help from Man Ray, Duchamp built what has come to be known as Rotary Glass Plates, The piece, which he did not consider art, involved a motor to spin pieces of rectangular glass on which were painted segments of a circle. When the apparatus spins, the circle segments appear to be closed concentric circles.

Rrose Sélavy
Rrose Sélavy, was one of Duchamp's pseudonyms Sélavy emerged in 1921 in a series of photographs by Man Ray of Duchamp dressed as a woman. Through the 1920s Man Ray and Duchamp collaborated on more photos of Sélavy. Duchamp later used the name as the byline on written material and signed several creations with it.
In 1918 Duchamp left his work on the Large Glass and the art scene, and went to Buenos Aires, Argentina for nine months where he often played chess, and carved from wood the only chess set he himself made, though a local craftsman made the knights. He returned to Paris in 1919, where he lived until he returned to the United States in 1920. By the time he moved to Paris in 1923 he was no longer a practicing artist. Instead he played and studied chess, which he played for the rest of his life to the near exclusion of all other activity. Duchamp's obsessive fascination with chess can be traced back much earlier to the themes of his major art pieces. The most immediately obvious of these is the chess position known as "trébuchet" (the trap), which gave its title to the Readymade of 1917. Sometime in the early 1930s, Duchamp realized that he had reached the height of his ability and had no real chance of winning recognition in top-level chess. Over the following years, the intensity of his participation in chess tournaments declined but he discovered correspondence chess and became a chess journalist writing weekly newspaper columns.
even though Duchamp was no longer practicing artist he continued consulting with artists, art dealers and collectors. From 1925 he often travelled to and from France and the United States, and made New York's Greenwich Village his home in 1942.