ネオ・ダダ / 1953–1965 / Style / Postwar American Art
针对抽象表现主义的内向性,把日用品、印刷品与剥制标本带入画面,试图在艺术与生活的缝隙中创作的战后潮流。它承继达达的手法,又把消费社会的材料本身当作构成材料。这是紧接波普艺术之前的分岔点。
把现成品带入画面 / 印刷品的丝网转印 / 介于绘画与立体之间的形态 / 涂抹、叠加与弄脏的痕迹
展开词条
- 适用场景
- 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
- 字体
- Mixed sizes and mixed faces from whatever was to hand, some stencilled, some torn out of existing print.
- 版面
- No grid: a horizontal collage in which one three-dimensional object breaks the picture plane and pulls the eye off axis.
- 材料
- Silkscreened newsprint over smeared paint, registration deliberately out, erasures left visible.
- 注意
- Arranging the found material tidily: Neo-Dada depends on objects keeping their own dirt and their own scale, and a neat collage of clean assets is only decoration.
- 延伸阅读
- The definition of the Combine painting / Japan's Neo-Dadaism Organizers / Its proximity to Fluxus
- 相关词条
- Dada / Pop Art
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