There is a wealth of great books and resources on dada. One of the most comprehensive books is Robert Motherwell's famous "The Dada Painters and Poets." It's
1. http://en.wikipedia.org/wiki/Dada
2. http://www.moma.org/exhibitions/2006/dada/index_f.html
Monday, March 12, 2007
Dada Questions (due Wednesday, 3.14.07)
DADA Questions
Please answer the following questions thoroughly & with complete sentences. The first section of questions are decidedly “discussion”-type questions. Treat them as “inquiries” without a distinct “right” answer. Feel free to really “discuss” them, rather than provide an outright answer.
However, the “case study” questions DO require a straightforward answer. Please answer them thoroughly. Finally, the last question asks you to relate Dada to the other subcultures we’ve studied. Answer this question as thoroughly as possible (it may require a whole page of writing).
THIS ASSIGNMENT IS DUE WEDNESDAY, MARCH 14.
1. Dada arose as a reaction to the atrocities of World War I. Explain how/why it did so.
2. What has been the purpose of art in western civilization?
3. What do you consider the “traditional” methods of making art?
4. Who has access to art in society? How do you “acquire” art in today’s society?
Case Studies
1. Marcel Duchamp’s “L.H.O.O.Q.”
a. What “prevailing value” of the art world is Duchamp questioning in this piece?
b. How does he do this?
c. Do you think he is successful, or is he “cheapening” the Mona Lisa?
2. Hugo Ball’s “sound poetry” (you can listen to these by going to www.ubuweb.com)
a. What fundamental assumption about language is Ball questioning with his sound poems?
b. How does he do this?
c. Do you think he is successful, or is he “cheapening” language & poetry?
3. “Belle Haleine”
a. What are the “constricting labels”/”received ideas” that this piece questions?
b. What aspects of the traditional artmaking process does this piece question?
4.Hans Arp “Untitled (Plant Hammer) / Untitled (Duo-Collage)
a. What “prevailing value” of art making is Arp (& his partners) questioning with these pieces?
b. How does he/they do this?
c. Do you think he is successful? Why/why not?
5. Dada collages
a. What traditional methods of art making are these pieces questioning
b. How do they do this?
c. Do you think this “new” way of art making is valuable? Why/why not?
Dada’s Influence on Later Subcultures
1. Identify 1-3 similarities between Dada and the other subcultures we have studied. (List them, and explain the similarity in 2-5 sentences).
Please answer the following questions thoroughly & with complete sentences. The first section of questions are decidedly “discussion”-type questions. Treat them as “inquiries” without a distinct “right” answer. Feel free to really “discuss” them, rather than provide an outright answer.
However, the “case study” questions DO require a straightforward answer. Please answer them thoroughly. Finally, the last question asks you to relate Dada to the other subcultures we’ve studied. Answer this question as thoroughly as possible (it may require a whole page of writing).
THIS ASSIGNMENT IS DUE WEDNESDAY, MARCH 14.
1. Dada arose as a reaction to the atrocities of World War I. Explain how/why it did so.
2. What has been the purpose of art in western civilization?
3. What do you consider the “traditional” methods of making art?
4. Who has access to art in society? How do you “acquire” art in today’s society?
Case Studies
1. Marcel Duchamp’s “L.H.O.O.Q.”
a. What “prevailing value” of the art world is Duchamp questioning in this piece?
b. How does he do this?
c. Do you think he is successful, or is he “cheapening” the Mona Lisa?
2. Hugo Ball’s “sound poetry” (you can listen to these by going to www.ubuweb.com)
a. What fundamental assumption about language is Ball questioning with his sound poems?
b. How does he do this?
c. Do you think he is successful, or is he “cheapening” language & poetry?
3. “Belle Haleine”
a. What are the “constricting labels”/”received ideas” that this piece questions?
b. What aspects of the traditional artmaking process does this piece question?
4.Hans Arp “Untitled (Plant Hammer) / Untitled (Duo-Collage)
a. What “prevailing value” of art making is Arp (& his partners) questioning with these pieces?
b. How does he/they do this?
c. Do you think he is successful? Why/why not?
5. Dada collages
a. What traditional methods of art making are these pieces questioning
b. How do they do this?
c. Do you think this “new” way of art making is valuable? Why/why not?
Dada’s Influence on Later Subcultures
1. Identify 1-3 similarities between Dada and the other subcultures we have studied. (List them, and explain the similarity in 2-5 sentences).
Tuesday, March 6, 2007
DISREGARD ASSIGNMENT #4!
Due to the fact that we began studying Dada in class on Monday, you may disregard assignment #4. If you have already done it, you can have extra credit, or you will be exempt from a future assignment.
The students seemed to really want to study Dada, so on Monday I quickly changed my plans. OH, FEAR NOT, YOU WILL HAVE MORE ASSIGNMENTS IN THE FUTURE!
The students seemed to really want to study Dada, so on Monday I quickly changed my plans. OH, FEAR NOT, YOU WILL HAVE MORE ASSIGNMENTS IN THE FUTURE!
Monday, March 5, 2007
The Rise & Fall of an American Subculture
Over the past couple weeks, we've looked at a number of videos & reading that may have left some of you a bit overwhelmed. Let me try to summarize things for you:
In the United States, political involvement on the part of citezens is difficult. Many of us are alienated from the political process. Nevertheless, many people seek alternative outlets to voice their opinions. The film "American Hardcore" lays this out vividly. As shown in that movie, a solidified group of young folks created their own underground culture that was vocally opposed to the status quo. They called it "hardcore punk". While this underground community had its problems, inconsistencies, and failures, it did indeed present an alternative. Nonetheless, it's important to note that this movement was not directly involved in political action (due probably because it was a MUSICAL movement & so many involved were young), despite their leftist political agenda/ideology.
Many of you have noticed that hardcore punk, nowadays, is not functioning in the same way it was back in the early 1980s. In fact, much of that subculture has been co-opted by the mainstream popular culture. Therefore the question is: what is/may be the current underground movement? Is it possible to create an "underground" movement that can affect POLITICAL change?
Amiri Baraka, in his speech "Language, Culture, & Meaning" seems to be making the point that language is intertwined with thought & action, and to truly understand our world, we must EXPAND, not limit ourselves. That's the most substantial thing I get from his speech.
In the United States, political involvement on the part of citezens is difficult. Many of us are alienated from the political process. Nevertheless, many people seek alternative outlets to voice their opinions. The film "American Hardcore" lays this out vividly. As shown in that movie, a solidified group of young folks created their own underground culture that was vocally opposed to the status quo. They called it "hardcore punk". While this underground community had its problems, inconsistencies, and failures, it did indeed present an alternative. Nonetheless, it's important to note that this movement was not directly involved in political action (due probably because it was a MUSICAL movement & so many involved were young), despite their leftist political agenda/ideology.
Many of you have noticed that hardcore punk, nowadays, is not functioning in the same way it was back in the early 1980s. In fact, much of that subculture has been co-opted by the mainstream popular culture. Therefore the question is: what is/may be the current underground movement? Is it possible to create an "underground" movement that can affect POLITICAL change?
Amiri Baraka, in his speech "Language, Culture, & Meaning" seems to be making the point that language is intertwined with thought & action, and to truly understand our world, we must EXPAND, not limit ourselves. That's the most substantial thing I get from his speech.
Thursday, March 1, 2007
Some things never change...
An example of a contemporary Cap:
http://www.nytimes.com/2007/03/01/nyregion/01splat.html?_r=1&oref=slogin
http://www.nytimes.com/2007/03/01/nyregion/01splat.html?_r=1&oref=slogin
Monday, February 26, 2007
Jesus Camp Questions (due Wednesday, Feb. 28)
Please answer the following questions in paragraph form (that means 5-15 complete sentences in which you thoroughly answer each question.
1. What are the ideological goals of the Jesus Camp? How may these goals be seen as a "hegemonic force"?
2. What do radical evangelical Christians believe is the "other" hegemonic force in U.S. public schools that is counter to their goals? Why do you think they feel so passionate about rejecting scientific theories?
3. In what ways are radical evangelical Christians "subcultural"? In what ways are they "mainstream"? (Think of the Ted Haggard interview in "Jesus Camp")
4. What is problematic about involving kids (7,8,9 years old) in this kind of "ideological battle"? (Feel free to argue that NOTHING is problematic about this.)
5. How do YOU feel about "Jesus Camp"? What was your intellectual/emotional reaction to watching the movie?
1. What are the ideological goals of the Jesus Camp? How may these goals be seen as a "hegemonic force"?
2. What do radical evangelical Christians believe is the "other" hegemonic force in U.S. public schools that is counter to their goals? Why do you think they feel so passionate about rejecting scientific theories?
3. In what ways are radical evangelical Christians "subcultural"? In what ways are they "mainstream"? (Think of the Ted Haggard interview in "Jesus Camp")
4. What is problematic about involving kids (7,8,9 years old) in this kind of "ideological battle"? (Feel free to argue that NOTHING is problematic about this.)
5. How do YOU feel about "Jesus Camp"? What was your intellectual/emotional reaction to watching the movie?
Friday, February 23, 2007
Jeff Struck's Bauhaus T-Shirt
If any of you are wondering what my own history as a subcultural hero are, well here it is:
http://www.theonion.com/content/node/29492??utm_source=EMTF_Onion
Cheers.
http://www.theonion.com/content/node/29492??utm_source=EMTF_Onion
Cheers.
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