Word: dadaists
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...relevance of art. Now, of course, it is quite respectably ensconced in the annals of art history, its profound commitment to art and its future gratefully acknowledged. But the homage paid to Dada by the New Conservatives has ignored its crucial legacy. For they have re-instated the Dadaist lack of principle in art as the status quo of the seventies. They have made a staple out of all that was revolutionary in Dada...
...work succeeds in isolating and containing the absurd, in all its tedium and inexplicability, if only in a sort of dadaist image, a kind of giant coffee can with strobe light. The boredom is less involving than in Godot, the texture of the prose less rich than in the novels, but by maintaining its peculiar notion. The Lost Ones creates a super-metaphor with a life of its own. Beckett's latest book looks at the world with intent, unshrinking understanding--and touches its expression with an uncertain gleam of the playful...
...some degree indebted to him. His concept of the "all-enveloping" work of art that could draw on a whole range of media, from paint and sculpture to architecture, sound and print, hovers behind all recent experiments in mixed media. Like Max Ernst, Schwitters is the "classical" Dadaist who destroyed nothing and became instead a kind of stylistic oracle. There have been a number of Schwitters retrospectives to cement the fame Schwitters himself never lived to enjoy. The latest, perhaps the definitive one, is now on view at the Kunsthalle in Düsseldorf, Germany, containing nearly 300 works...
...often been said that Schwitters' use of junk reflected a Dadaist disgust, a sense of hopelessness and pessimism in the wake of Germany's defeat. In fact, his art was a joyful celebration. "The whole swindle that men call war was finished," Schwitters wrote. "... I felt myself freed and had to shout my jubilation out to the world. Out of parsimony I took whatever I found to do this, because we were now a poor country. One can even shout out through refuse, and this is what I did, nailing and gluing it together . . . Everything had broken down...
...back in 191 3, an unwary art critic covered himself with retrospective ignominy by mocking Dadaist Marcel Duchamp's cubistic Nude Descending a Staircase as looking more like "an explosion in a shingle factory." There is no such danger today awaiting critics of Minimal Sculptor Robert Morris -even though some of his work does indeed look like an explosion in some sort of factory-because Morris' untitled pieces are not intended to represent anything. "What you see is what there is," says Morris. Since 1962, Morris watchers have seen him exhibit an 8-ft.-square slab of painted...