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New York Dada
Dada was an artistic and cultural movement between the years 1915-1923. Usually considered to have originated in Zurich, the Dadaist movement and its loose network of artists spread across Europe as well as into other countries, with New York becoming the primary center of Dada in the United States. The very word Dada is notoriously difficult to define and its origins are disputed, particularly amongst the Dadaists themselves.
The Dada movement has had continuous reverberations in New York art culture and in the art world generally ever since its inception, and it was a major influence on the New York School and Pop Art. Nevertheless, any attempt to articulate solid links between Dada and these movements must be tenuous at best. Such an attempt must begin philosophically with an acknowledgement of the Dadaists' demand to create a new world and artistically with an examination of the techniques the Dadaists used to do so.
==Overview==
"New York Dada" refers in general to the actions and principles of a group of loosely affiliated people (primarily by Marcel Duchamp, Francis Picabia, Man Ray, Beatrice Wood amongst others) involved in the production, display, distribution, and criticism of art, being produced in the years 1915-1923 in New York City. Because of this group’s philosophical orientation (with an anti-nationalistic, anti-war, and anti-bourgeois attitude featuring prominently), techniques of art production (from varieties of cubism to collage as well as ready-mades), critique of prior forms of art (in particular those forms identified with classical conceptions of mimetic representation, as well as those deemed tainted by affiliation with aristocratic or bourgeois values and or aristocratic or bourgeois patronage), self-pronounced allegiances (with each other as well as other avant-garde artists), and relation to other similar groups in Europe, they are referred to as Dada. This said, it is important to note that "New York Dada" developed independently of Zurich Dada, in fact, according to Hans Richter, "We in Zurich remained unaware until 1917 or 1918 of a development which was taking place, quite independently, in New York." 〔Richter, Hans, and David Britt. 1997. Dada, art and anti-art. New York, N.Y.: Thames and Hudson. Pg. 81.〕
Beginning with a showing of the work of Picabia at gallery 291 (if not the armory show in 1913 where a few of the works of Picabia and Duchamp set the stage for future endeavors), owned and operated by renowned and historically influential photographer Alfred Stieglitz, this group began to take shape 〔Naumann, Francis M. 1994. New York Dada, 1915-23. New York: Abrams.〕 Coupled with Stieglitz’s gallery, the patronage, enthusiasm, and intellectual support of the Arsenbergs provided the economic conditions of possibility for the Dada artists to exist in New York at that time. The arche-typical city of modernity New York was an attractive destination for Duchamp as well as others because of the relative calm it offered in comparison to war plagued Europe (Duchamp once remarked, "I do not go to New York, I escape Paris." 〔Richter, Hans, and David Britt. 1997. Dada, art and anti-art. New York, N.Y.: Thames and Hudson. Pg. 34.〕) as well as its incredible energy. Speaking of a series of New York inspired paintings, Picabia once said that "they express the spirit of New York as I feel it, the crowded streets... their surging, their unrest, their commercialism, their atmospheric charm... You of New York should be quick to understand me and my fellow painters () your New York is the cubist, futurist city."〔Naumann, Francis M. 1994. New York Dada, 1915-23. New York: Abrams. Pg, 19.〕
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