| Papers [1-5] of 5 | Search results on "DADAISM": |
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Jean Arp, 1991.
This paper discusses the life and career of the 20th Century French artist/sculptor Jean Arp who was associated with Dadaism & Surrealism.
1,350 words (approx. 5.4 pages), 11 sources, $ 47.95
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From the Paper
"Jean (Hans) Arp had a long and productive career in art during which he created numerous wood reliefs, collages and sculptures. Arp was associated with such movements as Dadaism, Surrealism, and Abstract-Creationism, and he experimented with elements of chance and automatism in his works. Arp's creations shocked the world when they were exhibited for the first time in 1916. However, it can be seen that Arp was presenting an important message regarding the relationship between art and life. In particular, by using chance elements, Arp tried to remove himself from his own art and to thereby allow his works to be closer to nature. This paper will explore this theme in Arp's work, and will relate it to the ideals of the various art movements that Arp was associated with.
Jean Arp was born in 1887 in a part of France which was at ... "
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Spontaneity & Humor, 2006.
This paper discusses the subject of spontaneity in humor focusing on flash mobs, television, Internet and art.
3,019 words (approx. 12.1 pages), 14 sources, APA, $ 88.95
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Abstract
In this article, the writer discusses that the myth of fun has increasingly made its way into post-modern culture. The writer points out that sometimes the fun is participatory, like the flash mob fad or creating art, while others are through watching, such as comedy. One specific form of entertainment enjoyed by many people today is spontaneous humor. The writer notes that flash mobs, a name given to a group of people that gather in a public place for a short time to do something abnormal, originated in May of 2003. The writer maintains that all of the scenarios of spontaneous humor mentioned in the paper link together. The writer notes that happenings, absurd theater, and TV comedians have origins in Dadaism, while flash mobs and other groups like them have origins in the comedians. The writer concludes that the purposeless acts are a way to voice opinion in an odd, yet amusing way; however, because it is odd and amusing it captivates and fascinates more people.
From the Paper
"The late night shows with Jay Leno, Conan O'Brien, Letterman, and other hosts are involved with spontaneous humor as well. The Leno show has segments such as having a talking photo booth where people sit in it for a wallet size photo, but the machine jokes with them about their current behavior inside the booth. People are confused and cannot understand how the machine knows what they are doing. Similarly, Leno has another skit where people at a gas pump can watch the news while pumping gas, but really the news station is watching them and will randomly converse with the person pumping their gas. People are bewildered on how the newscast can do such a thing and try to figure it out. Other times these hosts will stop people on the street and try to get them to perform something such as singing, telling a joke, or provide their insights on a certain topic. Because they are just random people on the street without preparation, the responses are often humorous."
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Art and Technology, 2004.
This paper explores the relationship between art and technology and concentrates on the importance of photography in the emergence between art and technology.
1,929 words (approx. 7.7 pages), 4 sources, MLA, $ 61.95
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Abstract
With the developments in technology, the connection between art and technology came faster than ever. This paper explores how the invention of photography affected the relationship between art and technology in the history of art. It includes genres like Impressionism, Modernism, and Dadaism, and also talks about very important figures of art history, such as Pablo Picasso, Edgar Degas, and Paul Cezanne.
From the Paper
"The first major modern technological advance that began to change the face of art was photography. Photography was invented by the French painter Louis Daguerre in 1837 and was immediately met with opposition from many in the art world. Artists had long struggled trying to capture a realistic portrait of the world around them. Now with photography, science had succeeded marvelously. Thus, the photograph introduced an era of mechanical reproducibility which challenged the accepted paradigm of artistic genius: the concept of a work of art as a unique image created by hand by a trained artist. Photography slowly began taking the jobs earlier filled by artists. It proved to be a faster and less expensive way to accurately portray the world; therefore, photography was used to take pictures of buildings and portraits where earlier an artist would have been commissioned (Wolter-Abele, 1)."
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Sartre, 2004.
Examines the changes in the literary and artistic scene in France from before WWI to after WWII, with an emphasis on the works of Jean-Paul Sartre.
2,811 words (approx. 11.2 pages), 5 sources, MLA, $ 83.95
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Abstract
This paper details the evolution of French artistic and literary expression from before WWI to after WWII. Dadaism, Surrealism, Absurdism, and many of the famous writers of those periods are examined. The paper focuses on the works of Jean-Paul Sartre and looks at influences on his writing, as well as his impact on the Absurdist movement. The paper also analyzes some of Sartre's more famous plays and discusses his philosophy.
From the Paper
"There was a brief period of economic prosperity and progress in France, called the belle epoque (beautiful epoch) before World War I in the early years of the 20th century and right before the wave of pessimism began in the 1920s (Cosper 2004). At this time, inventions like the telephone, the automobile, the airplane and the cinema refreshed modern life. Literature turned away from old styles, such as naturalism, and into the newer and more exciting forms, like cubism and bold experiments by Apollinaire. Other playwrights followed the lead of Apollinaire and introduced stage innovations, among them, Alfred Jarry with his extravagant farce in Ubu Roi in 1896 and Ubu King in 1951 and Paul Claudel. Alain-Fournier's novel, "The Wanderer," denied the limitations realists and naturalists placed on the human imagination and philosopher Henri Bergson proposed the naturalist view that human destiny was predetermined and that people had freewill and unlimited creative energy (Cosper)."
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The Futurist Movement, 2002.
A paper which examines the art of the Futurist Movement which originated at the end of the nineteenth century.
1,860 words (approx. 7.4 pages), 6 sources, MLA, $ 59.95
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Abstract
The paper discusses the origins of the Futurist Movement whose art-work reflected the energy and the changes of the late nineteenth/early twentieth century. It shows how Norwegian Impressionist artist, Edvard Munch's "The Scream" - which relayed a message of total dread and horror that comes from trying to realize the preciousness of life in a world of carnage - laid the groundwork for the movement's message. The paper examines the work of others who identified with this movement, such as writer Filippo Marinetti and artist Marcel Duchamp. The paper also touches on the Dadaism movement which orginated from refugees from WWI Germany and explores the works of several Dadaists, such as artist Jean Arp and historian Hans Richter.
From the Paper
"While Dadaism had movements all over the world, it was birthed from refugees of World War I in Zurich. The dehumanizing impact of the industrial age moved into the realm of the absurd during the Great War. No one in Germany escaped the horror of that bloody war unscathed. It was like a self-inflicted plague, not altogether unlike tuberculosis or any other disease, only making less sense. During that war was the first time that the modern implements of fighting came into use on the battlefield, and the soldier in the trenches achieved a new level of insignificance. They became canon fodder, with death often time coming from hidden mines, distant snipers, from big guns and airplanes that could only be heard and not seen. The carnage of the war and the desperation that followed clearly marked the souls of these artists. Painting landscapes made no sense in that context."
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