Neo-Dada

Neo-Dada was a movement with audio, visual and literary manifestations that had similarities in method or intent with earlier Dada artwork. It sought to close the gap between art and daily life, and was a combination of playfulness, iconoclasm, and appropriation.^[1] In the United States the term was popularized by Barbara Rose in the 1960s and refers primarily, although not exclusively, to work created in that and the preceding decade. There was also an international dimension to the movement, particularly in Japan and in Europe, serving as the foundation of Fluxus, Pop Art and Nouveau réalisme.^[2]

Neo-Dada has been exemplified by its use of modern materials, popular imagery, and absurdist contrast. It was a reaction to the personal emotionalism of Abstract Expressionism and, taking a lead from the practice of Marcel Duchamp and Kurt Schwitters, denied traditional concepts of aesthetics.^[3]

^ Collins, Bradford R., 1942- (2012). Pop art : the independent group to Neo pop, 1952-90. London: Phaidon. ISBN 9780714862439. OCLC 805600556.{{cite book}}: CS1 maint: multiple names: authors list (link) CS1 maint: numeric names: authors list (link)
^ Chilvers, Ian and John Glaves-Smith. A Dictionary of Modern and Contemporary Art. Oxford University Press (2009), p. 503
^ Craft, pp.10–11

[1] Collins, Bradford R., 1942- (2012). Pop art : the independent group to Neo pop, 1952-90. London: Phaidon. ISBN 9780714862439. OCLC 805600556.{{cite book}}: CS1 maint: multiple names: authors list (link) CS1 maint: numeric names: authors list (link)

[2] Chilvers, Ian and John Glaves-Smith. A Dictionary of Modern and Contemporary Art. Oxford University Press (2009), p. 503

[3] Craft, pp.10–11

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