New York
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Featuring New York The so-called Armory Show of 1913 in turns scandalized and energized the budding New York art scene. Man Ray, who would eventually approximate New York’s original Dada, reportedly told a reporter, “I did nothing for six months. It took me that time to digest what I had seen.” |
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Louise Norton: Buddha of the Bathroom I suppose monkeys hated to lose their tail. Necessary, useful, and an ornament, monkey imagination could not stretch to a tailless existence (and frankly, do you see the biological beauty of our loss of them?), yet now that we are used to it we get on pretty well without them. |
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Francis Picabia: Metal |
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Georges Hugnet: The Dada Spirit in Painting |
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The Richard Mutt Case from The Blind Man No.2 |
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New York Dada Whereas the European Dada movement has been the focus of many detailed studies, with few exceptions, New York Dada has been analyzed only within the framework of general survey texts, where Dada is usually treated as little more than a mere prelude to Surrealism. |
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New York Dada: PROTO-DADA Few would challenge the preeminent position established by Alfred Sieglitz in the promotion of modern art. And although he may never have fully embraced the tenets of Dada, a number of early articles published in his magazine were so forcefully written and so totally committed to renouncing traditional aesthetic value that today they read almost like Dada manifestos. |
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Marcel Duchamp Some three months before his arrival [in New York], he sent Pach both versions of his Chocolate Grinder, and the paintings were shown in March 1915, in an “Exhibition of Contemporary French Art” at the Carroll Galleries in New York. |
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Man Ray During the fall of 1920, Man Ray maintained his close friendship with Duchamp, and he continued to lend his photographic skills to document a number of diverse projects. It was at this time that he took the picture of dust accumulating on the surface of the Large Glass. |
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