Word: dada
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...endears him to the Postmodernist temper is the way that traces of practically all the early 20th century movements, from Fauvism and Orphism to Cubism and even Surrealism, turn up in his work--not as a mishmash of quotes but as integrated elements. There's even a bow to Dada in a peculiar picture from 1930 in which the Mona Lisa shares billing with a can of sardines and a large bunch of keys...
...trying to pull an unlikely Peking Pile Driver (as if I were born yesterday!), and I was this far from executing a perfect Triple-Death Windmill Kick that would have punted her out of the arena when the phone rang. "It's someone from work for you, Dada," she said, in that adorable, squeaky baby voice. "Hurry up so I can kick your ass!" My wife looked at me. "Educational," she said. Like it was my fault...
Harvard would certainly feel different. The song "10,000 Men of Harvard," whose current lyrics are "10,000 men of Harvard Da DaDa DaDa Da Da," would be called "A Whole Mess a Harvard Men" and would feature several opportunities to yell "Hullabaloo!" Benefits for students would include the President's annual Commencement Holler and overall friendlier staff ("Hi, my name is Domna Sue"). Dining hall meals would be patterned after Elvis' favorites in his last years at Graceland, including Fried chicken, Fried peanut butter and banana sandwiches, Fried pies and Fried frying oil. And, of course, if country music...
...split in American taste revealed itself with the first impact of Modernist art--Cubist, Fauvist, Dada--at the scandalous Armory Show in New York in 1913. Conservatives decried Modernism as un-American, an imported madness, and connected it to the paranoia many Americans felt at the rapid change of their society under the pressure of immigration--"Ellis Island art." But early American Modernists were concerned, sometimes obsessed, with rendering peculiarly American experience. Charles Demuth (1883-1935) was fascinated by the blaring contrasts of signs and numbers on the new urban surface; John Marin (1870-1953) believed that "you cannot create...
...part in Manhattan and Los Angeles. Among them, from Paris, were Fernand Leger, Marc Chagall, Piet Mondrian, Jacques Lipchitz and the core group of Surrealists who went to New York City: Max Ernst, Andre Breton, Yves Tanguy, Andre Masson and Roberto Matta. From Germany, Kokoschka, Kurt Schwitters and the Dada collagist John Heartfield reached London, while Max Beckmann, Josef Albers and George Grosz made it to America...