The concrete results of this movement were art techniques that used randomness and non-art-academy techniques to convey a message or an idea.
Over the next several decades, artists of all media on both sides of the Atlantic were energized and stimulated by this call to … whatever it was nothingness and anti-everything. 76)Īl though this appeared officially in one magazine, the eponymous Dada, which had only 4 issues, this manifesto stirred up an astonishing amount of activity.
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“DADA is our intensity: it erects inconsequential bayonets and the Sumatral head of German babies Dada is life with neither bedroom slippers nor parallels it is against and for unity and definitely against the future we are wise enough to know that our brains are going to become flabby cushions, that our anti dogmatism is as exclusive as a civil servant, and that we cry liberty but are not free a severe necessity with entire discipline nor morals and that we spit on humanity.” (Tzara, Dada Manifesto 1918, 1970, p. It was against this backdrop of post -war reflection that Tristan Tzara, in mid-1910s, published his Dadaist Manifestoes. The dreamy landscapes of the Impressionists, and even the more radical approaches to depicting nature taken by the Cubists, futurists and expressionists, must have seemed rather ineffectual and trivial in light of mustard gas, blinded eyes, lost limbs, and, what modern psychiatry would call PTSD. Like many other intelligent people, artists questioned the purpose of life, of their art, and of themselves. The flower of European youth had either been slaughtered or crippled in ways that led many to question the purpose of the war, and its clear mismanagement in many of its aspects. Just after the First World War, the brutal scars of that conflict were still fresh and painful. This is the area in which the Avant Garde may have had the largest impact on fashion. Out of all this came a persistent attitude of deconstruction, of rejection of anything that had been done before. The effects of this set of choices is still resonating today. The adherents of the Avant Garde adopted modes of dress, lifestyles, and channels for presenting their works that were themselves works of art (Ward, 2010). This has had a powerful effect on all aspects of art, architecture, and fashion.
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The movement disconnected itself from both the traditional professional training requirements of art, and the expected marketplace of art (Burger, 1984, p. The artists, and their lovers, spouses, and hangers on, were quite deliberately out to shock.
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Whether through ridiculing the forms and expectations of traditional art, as in Dadaism, or reducing art to a series of lines or blocks of color as in De Stijl’s Neo-Plasticism and Elementarism, Constructivism, or Art Concret, the Avant Garde avoided anything that looked like anything one might reasonably recognize from the world of the senses. Representational art was perhaps the first casualty of the movement. This movement was largely European, but had US adherents as well. Such notions as order, symmetry, representation, professionalism, accessibility, beauty, comprehensibility, and many other aspects of art that had been taken for granted for centuries if not millennia, were cast aside. All expected characteristics of art were discarded, and in every way possible, art diverged from everything that preceded it. Artists such as Tristan Tzara, Theodore van Doesburg, Duchamp, and Mondrian, among others, representing several stylistic and philosophical tendencies, broke as far as they could with all pre-existing artistic traditions. The Avant Garde as a term to describe art was first used in the early decades of the 20 th century. Although the term Avant Garde literally means ‘before the troops’, the actual movement it describes gives more of an impression of abandoning the troops, and leaving them far behind, in real life.
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