{"id":"neo-dada","no":445,"name":"Neo-Dada","ja":"ネオ・ダダ","era":"1953–1965","family":"戦後アメリカ美術","kind":"スタイル","collection":"Dictionary expansion 24","addedAt":"2026-08-18","source":{"title":"Tate — Art Terms: Neo-Dada","url":"https://www.tate.org.uk/art/art-terms/n/neo-dada"},"reference":{"status":"verified","pageUrl":"https://www.tate.org.uk/art/art-terms/n/neo-dada","credit":"Tate — Art Terms: Neo-Dada","gallery":[{"imageUrl":"https://commons.wikimedia.org/wiki/Special:FilePath/Robert%20Rauschenberg%20exposeert%20in%20Stedelijk%20Museum%2C%20Bestanddeelnr%20921-0999.jpg?width=640","pageUrl":"https://commons.wikimedia.org/wiki/File:Robert%20Rauschenberg%20exposeert%20in%20Stedelijk%20Museum%2C%20Bestanddeelnr%20921-0999.jpg","credit":"ヤック・デ・ネイス撮影 ロバート・ラウシェンバーグと自作（ステデリック美術館の個展）1968年 — Wikimedia Commons / CC0"},{"imageUrl":"https://commons.wikimedia.org/wiki/Special:FilePath/Ay-O-boxes.jpg?width=640","pageUrl":"https://commons.wikimedia.org/wiki/File:Ay-O-boxes.jpg","credit":"靉嘔《タクタイル・ボックス》《フィンガー・ボックス》ゲッティ・センター展示 — Wikimedia Commons / CC BY-SA 2.0"}]},"essence":"抽象表現主義の内面性に対し、日用品・印刷物・剥製を画面へ持ち込み、芸術と生活の隙間で作ろうとした戦後の潮流。ダダの手つきを引き継ぎながら、消費社会の素材そのものを構成材にした。ポップ・アートの直前の分岐点。","cues":["既製品の画面への持ち込み","印刷物のシルクスクリーン転写","絵画と立体の中間形態","消し・重ね・汚しの痕跡"],"intents":["反骨","遊び","技術"],"works":["展覧会や実験音楽の告知で、拾った印刷物をそのまま版にしたいとき","製品の記録集で、使用の痕跡ごと素材として見せたいとき"],"recipe":{"type":"新聞や伝票の文字を版で転写し、部分的に消す","layout":"平面と実物を同居させ、両者の境目を隠さない","material":"既製品を画面に留め、刷りのずれと汚れを残す"},"avoid":"既製品を貼るだけでは選んだ理由が見えず、雑貨の飾り棚になる。整然と並べれば作品が頼る汚れと寸法が消え、清潔な装飾で終わる。","colors":["#d7d5c7","#bb6308","#181a24"],"motif":"graphic","pair":["dada","pop-art"],"study":["コンバイン絵画の定義","日本のネオ・ダダイズム・オルガナイザーズ","フルクサスとの近接"],"en":{"essence":"A postwar current that answered the inwardness of Abstract Expressionism by bringing household objects, printed matter and taxidermy onto the picture, working in the gap between art and life. It inherited Dada's gestures while making the materials of consumer society into structural components. The branching point immediately before Pop art.","cues":["Ready-made objects brought onto the picture","Printed matter transferred by silkscreen","Forms halfway between painting and object","Traces of erasing, layering and soiling"],"works":["Record sleeves, zines and event graphics that need to look assembled out of the world rather than designed from nothing","Campaigns built from found print, where the receipts, newsprint and packaging keep their own history as part of the message"],"recipe":{"type":"Mixed sizes and mixed faces from whatever was to hand, some stencilled, some torn out of existing print.","layout":"No grid: a horizontal collage in which one three-dimensional object breaks the picture plane and pulls the eye off axis.","material":"Silkscreened newsprint over smeared paint, registration deliberately out, erasures left visible."},"avoid":"Pasting readymades alone never shows why they were chosen, and it becomes a shelf of knickknacks. Arranging it tidily strips the dirt and scale the work depends on, and leaves clean decoration.","study":["The definition of the Combine painting","Japan's Neo-Dadaism Organizers","Its proximity to Fluxus"]},"links":{"page":"https://indexstyle.org/styles/neo-dada","json":"https://indexstyle.org/api/styles/neo-dada","designSpec":"https://indexstyle.org/styles/neo-dada/design.md","imagePrompt":"https://indexstyle.org/styles/neo-dada/prompt.txt"},"usage":{"license":"CC-BY-4.0","licenseName":"Creative Commons Attribution 4.0 International","licenseUrl":"https://creativecommons.org/licenses/by/4.0/","attribution":"IndexStyle — https://indexstyle.org","attributionUrl":"https://indexstyle.org","scope":"Original IndexStyle text and structured data. Reference images, quoted works, and third-party material are excluded and retain their own rights."}}