The Dada attitude of «anything goes» was certainly embraced by the artists who, like
the original Dadaists, used unorthodox materials in protest against the traditions of «high art».
[4] However, several of
the original Dadaists denounced the label Neo-Dada, especially in its U.S. manifestations, on the grounds that the work was derivative rather than making fresh discoveries; that aesthetic pleasure was found in what were originally protests against bourgeois aesthetic concepts; and because it pandered to commercialism.
Not exact matches
Working in the lineage of the
Dadaists and the Nouveau Réalisme movement, Bradford has honed a refined technique of décollage, a process defined by cutting, tearing away or otherwise removing, pieces of an
original image.