Friday, February 21, 2014
Belles Blog Post
An elusive and otherwise undefinable term, Dada is nearly impossible to describe. The beauty in Richter's work is that it brings together many examples of Dada and holds them side-by-side, so that they may be compared and combed for commonalities. Paired with Tzara's comprehensive Dada manifesto, we the reader are left with a (seemingly) complete image of what the movement has to offer. Between the Richter and Tzara, many similarities can be found. Of course, within a movement whose core tenets include disdain for fellow artists and the artistic community, there also are a multitude of unique styles and methods used in pursuit of Dada. What remains the same, though, are the artists blatant disregard for the norm, and in fact, their striving to break away from the traditional and create something disruptively unique. It appears to me that, because many Dadaists exist in the same time period, that the society and culture against which they rebel is often the same across the board. Given this, it is understandable that two artists trying their hardest to create something unique may actually land upon something very similar, given the fact that they share a "common enemy", if you will. In the Richter text, I noticed the poem "THE GUEST EXPULSED" to be very similar to the work of Tzara. For one, the authors both create their own language; sounds like "Dadadado" are used to fill spaces in structure and plot that words could not. The authors write with reckless abandon to traditional styles, forgoing paragraph format and sentence structure in favor of shorter, choppy sentences that often lack key components. The authors also make use of descriptive language, favoring words that describe color and texture to those which would elaborate upon meaning or theme. It is not surprising to me that the works of these Dadaists resemble one another, even if this was the last thing the artists had intended. It appears that the unique rejection of culture may look similar when the object of rejection is the same.
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Surrealism is a movement based on a distortion of reality and is known for evolving from the Dadaism movement. In his post, Belle talks about how Tzara and Richter carry more commonalities within their writing styles that most people don’t recognize. He expresses that both writers have a “blatant disregard for the norm” which has to do with the fact that they were dada artist. I can picture how Dada moved into surrealism because Belle defines Dada as being “an elusive and otherwise indefinable term.” This can be related to surrealism because something that is surreal can be described as elusive also. Belle talks about both artists and their similar writing styles in the sense that one of the poems that they respectively write follows a phonetic pattern. At first glance these poems make no sense but as try to read them you start to hear the phonetic language. This is just one unique piece of artistry that was shown through the Dada movement. Belle also mentions that both artists even “create their own language” in their respective poems. This ties to surrealism in a sense because it is an example of a distorted language and grammar structure. Dadaism was all about being different and doing something art wise that had never been done before. Well writing and speaking in a made up language for the basis of phonetic sound was unheard of back then and that’s just what these artists proceeded to do. Overall this blog post conveys great techniques that both artists used that can be used to define Dadaism and surrealism.
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