Choose an artist or art movement that has interests you. Describe how this artist or art movement relates to your work.
Visually encapsulated by Marcel Duchamp, literarily so by Tristan Tzara, one may attempt- and so only attempt- to define the style of Dadaism-as one for the nihilist. If defined by its founder, Tristan Tzara, by reference to his Dada Manifesto (1918), "Dada" means nothing; otherwise, it "is" the subjection of reality rather than the objection. In essential values, Dadaism can be characterized by absurdity, existentiality, and rejection of all conventions-especially of those terms attributed to its name. These attributes are of primary contribution and relevance to my work, in physical construction as well as in concept.
Heretofore, my work has been inclusive of such, aforementioned, themes: one of which including the isolation of the individual and of independent thought in a collectivist bolshevik- majority. The pedigree of civilized man, disparage to discern one from his various regions, is united by a least common denominator-that is his systematic governance, his subverted individuality to a state, that, for it's own convenience, constantly trends toward a collectivist regime; his numerator: the stratum under which he lives, coupled with the quantity of those employed to retain him there. Through this, I do not qualify anarchy-for I with understanding the existence of those whom only satiate by governance as well as, albeit far out-numerated, that of those better-well without- but rather qualify individuality, while it's liberty being: it's preserved exaltation. Visually simplified: the use of repetition of like shapes, lines, and colors, accompanied by space-penetrating incorporation of polemic text, whether Rand or Voltaire, thereby can express such individual vacancy, such standardized conformity.
The atmosphere of Dada, if framed by a composition, one may interpret, corresponds to that of perhaps a similar absurdism seen in Rosencrantz and Guildenstern are dead, by Tom Stoppard; affirming in the air the vapor of existentialism, Dadaism asserts the nihilism of humanity-as neither for the perpetuation of a universal morality nor for the servicing of any supernatural force claiming to justify it. This attribute of ignobility by existentialism is a primary theme throughout my visual and literary works-as by the depiction of a heroine, much alike the Voltarian Candide, as an archetype for the independence of the individual from institutions and pseudo-prophets for ethical guidance. To translate, nihilism-such as illustrated by Marcel Duchamp's "ready-mades"-in his context, is utilized for the rejection of a universal system of the value-with particular regard to art-, and for an anti-definition of art-as not to merely appeal to the eye but offend it, thereby better-well communicating an idea.
Tristan Tzara understood the significance of demonstration and advertisement on a complacent bourgeois, as well as on an aggravated proletariat. Performers, friends of Dada, proved this by their prestidigitation. For its success, in both information and motivation, propaganda is, opinionatedly, tantamount to the dialect of the common Jesuit for want of influencing so permeable the common mind. For this affection, a color palette, an inclination to red, as derived primarily from USSR constructivist posters, is common throughout my portfolio. For to live is often to extort one's environment and relationships with others, this method of illusion utilized by Hannah Hock's collages-her inclusion of reputable visages, such as Nietzsche-appealing to ethos-to the audiences pre-cognizance of the individual. Additionally, assimilating and conversing as they do, common minds are advertisement themselves-as by their gossip. Hence, the recognized significance of demonstration and the utilization of propaganda is a habit perpetuated throughout my work.
The rejection of absolutism- of claims as to the constant of "truth" or the fixed polarity of "good" and "evil"-, while embracing Marxist to anarchistic ideals- in general rejection of the bourgeois, of the capitalist system of economics and of its social hierarchy-is another attribute of Dadaism. Such as with Marxist criticism, political and social class-antagonism is a theme expressed in my work-for I have found: the avant-garde, those artists equally admired as abhorred, exist, at least at first, as only proletariats, for they have not the fund for perfection nor the affection for formal ideal-as most bourgeois do-, and so must conceive perfection themselves, by the originality of their hand and mind coupled; hence, only the poor can make art, as originality is their faculty to ascend from the slums, but only by the patronage of that bourgeois.
As mentioned by Tzara, in his manifesto, Dadaism is rather an eventual western conversion to a pseudo-Buddhist disposition of indifference-as according to the Vajrayana-than an everlasting perpetuation of erratic events; and so, when all demonstrations of spontaneity have been performed, the entirety of the population having been exposed to all, there exists nothing to so surprise. Hence, a superficially illogical approach, as potential solution to a hypothetic question, is no longer so preposterous as thought previous-as it is found by former Dadaists that logic is banal in attempt, relative to propositions conceived by imagination; romantic versus realistic.
In conclusion, Dadaism, that one may characterize as absurd, existential and contrarian, has, above all other movements, influenced, and therefore is relevant to, my work for: its proponents, as well as do I, recognize the significance of advertisement as an effective utility of persuasion-thus the inclusion of noticeable colors, and of reputable characters coupled with their voices is utilized-; the recognized necessity of individual liberties, values and pursuits; and the recognition of pessimism as the necessary engine for discovery.
Heretofore? Wow, I guess I am prejudiced against certain words...
In the first paragraph, you explained the themes that influenced you, and then in the second paragraph you begin by saying your work "has been inclusive of such, aforementioned, themes." So.. that is redundant.
Unnecessarily wordy and complex:
The atmosphere of Dada, if framed by a composition, one may interpret...
And I am confused when I get to "are dead"---> The atmosphere of Dada, if framed by a composition, one may interpret, corresponds to that of perhaps a similar absurdism seen in Rosencrantz and Guildenstern. are dead...?
...thereby better well communicating an idea.
You have complex subject matter, so it is very important to simplify the language as much as possible. It is hard to keep language simple enough to be powerful when dealing with complex subjects, so you cannot afford to do anything that is unnecessarily complicated. For example, maybe you should get rid of this unnecessary phrase:
above all other movements, influenced and therefore is relevant to, my work for: its...
And here:
its proponents, as well as do I, r ecognize
its proponents and I recognize...
When writing about art, the writing is complex for the same reason art is necessary in the first place. Some ideas cannot be easily conveyed via language. Complexity is an undesirable problem that comes with this kind of writing, so do not make the writing more complex than it already needs to be!
:-)
