Editing Marcel Duchamp (section)

===Dada===
[[File:Marcel Duchamp, 1917, Fountain, photograph by Alfred Stieglitz.jpg|thumb|Photograph of Duchamp's ''[[Fountain (Duchamp)|Fountain]]'' (1917) by [[Alfred Stieglitz]]]]
[[File:The blind man MET b1120124 001.jpg|thumb|The cover of the second (and final) issue of ''[[The Blind Man]]'' (May 1917) featured a graphic reference to Duchamp's painting ''The Chocolate Grinder''. The issue is best known for its response to ''Fountain'' not being displayed at the purportedly open inaugural exhibition of the [[Society of Independent Artists]]. ]]
[[Dada]] or Dadaism was an [[art movement]] of the European avant-garde in the early 20th century. It began in [[Zürich]], Switzerland, in 1916, and spread to [[Berlin]] shortly thereafter.<ref>de Micheli, Mario (2006). ''Las vanguardias artísticas del siglo XX.'' Alianza Forma. pp. 135–137</ref> To quote Dona Budd's ''The Language of Art Knowledge'',

<blockquote>Dada was born out of negative reaction to the horrors of [[World War I]]. This international movement was begun by a group of artists and poets associated with the [[Cabaret Voltaire (Zurich)|Cabaret Voltaire]] in Zürich. Dada rejected reason and logic, prizing nonsense, irrationality, and intuition. The origin of the name Dada is unclear; some believe that it is a nonsense word. Others maintain that it originates from the Romanian artists [[Tristan Tzara]] and [[Marcel Janco]]'s frequent use of the words da, da, meaning yes, yes in the [[Romanian language]]. Another theory says that the name "Dada" came during a meeting of the group when a paper knife stuck into a French-German dictionary happened to point to "dada", a French word for "hobbyhorse".<ref>Budd, Dona, ''The Language of Art Knowledge'', Pomegranate Communications, Inc.</ref></blockquote>

The movement primarily involved visual arts, literature, poetry, [[art manifesto]]es, [[aesthetics|art theory]], theatre, and [[graphic design]], and concentrated its [[anti-war]] politics through a rejection of the prevailing standards in art through [[anti-art]] cultural works. In addition to being anti-war, Dada was also anti-[[bourgeois]] and had political affinities with the radical left.

Dada activities included public gatherings, demonstrations, and publication of art/literary journals; passionate coverage of art, politics, and culture were topics often discussed in a variety of media. Key figures in the movement, apart from Duchamp, included: [[Hugo Ball]], [[Emmy Hennings]], [[Hans Arp]], [[Raoul Hausmann]], [[Hannah Höch]], [[Johannes Baader]], [[Tristan Tzara]], [[Francis Picabia]], [[Richard Huelsenbeck]], [[Georg Grosz]], [[John Heartfield]], [[Beatrice Wood]], [[Kurt Schwitters]], and [[Hans Richter (artist)|Hans Richter]], among others. The movement influenced later styles, such as the avant-garde and [[downtown music]] movements, and groups including [[surrealism]], [[Nouveau réalisme]], [[pop art]], and [[Fluxus]].

<blockquote>Dada is the groundwork to abstract art and sound poetry, a starting point for performance art, a prelude to [[postmodernism]], an influence on pop art, a celebration of antiart to be later embraced for anarcho-political uses in the 1960s and the movement that lay the foundation for Surrealism.<ref>Marc Lowenthal, translator's introduction to [[Francis Picabia]]'s ''I Am a Beautiful Monster: Poetry, Prose, and Provocation''</ref></blockquote>

[[New York Dada]] had a less serious tone than that of European Dadaism, and was not a particularly organized venture. Duchamp's friend [[Francis Picabia]] connected with the Dada group in Zürich, bringing to New York the Dadaist ideas of absurdity and "anti-art". Duchamp and Picabia first met in September 1911 at the Salon d'Automne in Paris, where they were both exhibiting.  Duchamp showed a larger version of his ''Young Man and Girl in Spring'' 1911, a work that had an Edenic theme and a thinly veiled sexuality also found in Picabia's contemporaneous ''Adam and Eve'' 1911.  According to Duchamp, "our friendship began right there".<ref>'' Duchamp, Man Ray, Picabia''; Edited by Jennifer Mundy; TATE 2008; p. 12</ref> A group met almost nightly at the [[Walter Arensberg|Arensberg]] home, or caroused in [[Greenwich Village]]. Together with Man Ray, Duchamp contributed his ideas and humor to the New York activities, many of which ran concurrent with the development of his [[Readymades of Marcel Duchamp|Readymades]] and ''The Large Glass''.

The most prominent example of Duchamp's association with Dada was his submission of ''[[Fountain (Duchamp)|Fountain]]'', a urinal, to the [[Society of Independent Artists]] exhibit in 1917. Artworks in the Independent Artists shows were not selected by jury, and all pieces submitted were displayed. However, the show committee insisted that ''Fountain'' was not art, and rejected it from the show. This caused an uproar among the Dadaists, and led Duchamp to resign from the board of the Independent Artists.<ref name="TomkinsBio"/>{{rp|181–186}}

Along with [[Henri-Pierre Roché]] and Beatrice Wood, Duchamp published multiple Dada magazines in New York—including ''[[The Blind Man]]'' and ''[[Rongwrong]]''—which included art, literature, humor and commentary.

When he returned to Paris after World War I, Duchamp did not participate in the Dada group.