Anti-art - Knowledge

3321: 314: 2329:. "Unpacking Duchamp: Art in Transit". Los Angeles: University of California Press, 1995. "No, no the word 'anti' annoys me a little, because whether you are anti or for, it's two sides of the same thing. And I would like to be completely – I don't know what you say – nonexistent, instead of being for or against... The idea of the artist as a sort of superman is comparatively recent. This I was going against. In fact, since I've stopped my artistic activity, I feel that I'm against this attitude of reverence the world has. Art, etymologically speaking, means to 'make.' Everybody is making, not only artists, and maybe in coming centuries there will be a making without the noticing" 189: 2193:: Art is revolution. National-Zeitung, Basle, 13 October 1967. "All machines are art. Even old, abandoned, rusty machines for sifting stones. (...) A beautiful oil refinery or your Johanniterbrücke, which are supposed to be solely functional, are important additions to modern art. So, art is also: the achievements of engineers and technicians, even if they express themselves unconsciously or purely functionally. Art is everything. (Do you think art ought to be made only by 'artists'?) And: art is everywhere – at my grandmother's – in the most incredible kitsch or under a rotten plank." 2316:

bit like atheist, as compared to believer. And the atheist is just as much of a religious man as the believer is, and an anti-artist is just as much of an artist as the other artist. Anartist would be much better, if I could change it, instead of anti-artist. Anartist, meaning no artist at all. That would be my conception. I don't mind being an anartist ... What I have in mind is that art may be bad, good or indifferent, but, whatever adjective is used, we must call it art, and bad art is still art in the same way as a bad emotion is still an emotion."

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Malraux writes, 'All true painters, all those for whom painting is a value, were nauseated by these pictures – "Portrait of a Great Surgeon Operating" and the like – because they saw in them not a form of painting, but the negation of painting'. For Malraux, anti-art is still very much with us, though in a different form. Its descendants are commercial cinema and television, and popular music and fiction. The 'Salon', Malraux writes, 'has been expelled from painting, but elsewhere it reigns supreme'.

2760:, 1963. "Purge the world of bourgeois sickness, "intellectual", professional and commercialized culture, purge the world of dead art, imitation, artificial art, abstract art, illusionistic art, mathematical art, – purge the world of "Europanism"! PROMOTE A REVOLUTIONARY FLOOD AND TIDE IN ART, promote NON ART REALITY to be grasped by all peoples, not only critics, dilettantes and professionals ... FUSE the cadres of cultural, social & political revolutionaries into united front & action." 1131: 66: 1107: 1269:, these groups and their members worked to foreground material in their work: rather than seeing the art work as representing some remote referent, the material itself and the artists' interaction with it became the main point. The freeing up of gesture was another legacy of L'Art Informel, and the members of Group Kyushu took to it with great verve, throwing, dripping, and breaking material, sometimes destroying the work in the process. 114: 25: 1119: 727: 2626:

them trapped within the very artistic sphere whose decrepitude they had denounced, was the fundamental reason for their immobilization. Dadaism and surrealism were historically linked yet also opposed to each other. This opposition involved the most important and radical contributions of the two movements, but it also revealed the internal inadequacy of their one-sided critiques. Dadaism sought to

1884:"A loosely used term that has been applied to works or attitudes that debunk traditional concepts of art. The term is said to have been coined by Marcel Duchamp in about 1914, and his ready-mades can be cited as early examples of the genre. Dada was the first anti-art movement, and subsequently the denunciation of art became commonplace—almost de rigueur—among the avant-garde." 2815:. "In the sixties Black Mask disrupted reified cultural events in New York by making up flyers giving the dates, times and location of art events and giving these out to the homeless with the lure of the free drink that was on offer to the bourgeoisie rather than the lumpen proletariat; I reused the ruse just as effectively in London in the 1990s to disrupt literary events." 2699:

thousands of painters who today labor at the non-sense of detail will have the possibilities which machines offer, there will be no more giant stamps, called paintings to satisfy the investment of value, but thousands of kilometers of fabric offered in the streets, in markets, for barter, allowing millions of people to enjoy them and exciting the experience of arrangement."

1234:, developed the notion of a work of art which, by its very nature, could never be created in reality, but which could nevertheless provide aesthetic rewards by being contemplated intellectually. Related to this, and arising out of it, is excoördism, the current incarnation of the Isouian movement, defined as the art of the infinitely large and the infinitely small. 537:, Dada ignored aesthetics completely. If art was to appeal to sensibilities, Dada was intended to offend. Through their rejection of traditional culture and aesthetics the Dadaists hoped to destroy traditional culture and aesthetics. Because they were more politicized, the Berlin dadas were the most radically anti-art within Dada. In 1919, in the Berlin group, 2922:

stepped in to prevent Yale University from acquiring his personal archives (...) It's difficult to convey how bizarre it is to hear Christine Albanel – Sarkozy's minister of culture – describing the revolutionary Debord as 'one of the last great French intellectuals' of the second half of the 20th century.

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Varvara Stepanova: Lecture on Constructivism, 22 December 1921. In: Peter Noever: Aleksandr M. Rodchenko - Varvara F. Stepanova. The Future Is Our Only Goal. Munich: Prestel, 1991, pp. 174-178. "From here, Constructivism proceeds to the negation of all art in its entirety, and calls into question the

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The BBC aired an interview with Duchamp conducted by Joan Bakewell in 1966 which expressed some of Duchamps more explicit Anti-Art ideas. Duchamp compared art with religion, whereby he stated that he wished to do away with art the same way many have done away with religion. Duchamp goes on to explain

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Similar to Dada, in the 1960s, Fluxus included a strong current of anti-commercialism and an anti-art sensibility, disparaging the conventional market-driven art world in favor of an artist-centered creative practice. Fluxus artists used their minimal performances to blur the distinction between life

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by poetic and artistic works." "Dadaism and surrealism were the two currents that marked the end of modern art. Though they were only partially conscious of it, they were contemporaries of the last great offensive of the revolutionary proletarian movement, and the defeat of that movement, which left

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was an edgy, experimental and rambunctious art group. They ripped and burned canvasses, stapled corrugated cardboard, nails, nuts, springs, metal drill shavings, and burlap to their works, assembled many unwieldy junk assemblages, and were best known for covering much of their work in tar. They also

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cabaret culture. While short lived – the last Incoherent show took place in 1896 – the movement was popular for its entertainment value. In their commitment to satire, irreverence and ridicule they produced a number of works that show remarkable formal similarities to creations of the avant-garde of

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may seek to undermine individual creativity by producing their artworks anonymously. They may refuse to show their artworks. They may refuse public recognition. Anti-artists may choose to work collectively, in order to place less emphasis on individual identity and individual creativity. This can be

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An expression of anti-art may or may not take traditional form or meet the criteria for being defined as a work of art according to conventional standards. Works of anti-art may express an outright rejection of having conventionally defined criteria as a means of defining what art is, and what it is

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was responsible for various attacks on art galleries along with the art inside. According to the philosopher Roger Taylor the concept of art is not universal but is an invention of bourgeois ideology helping to promote this social order. He compares it to a cancer that colonises other forms of life

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Vincent Kaufman. "The Columbia history of twentieth-century French thought". Editor: Lawrence D. Kritzman, Columbia University Press, 2007, p. 104. "In the view of some (including the principal protagonists of the movement themselves), Situationism was the century's finest and most radical form of

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Rodchenko, A. and V. Stepanova (1975) 'The Programme of the Productivist Group', in Benton and Benton (eds), pp. 91-2. "1. Down with art, long live technical science. 2. Religion is a lie. Art is a lie. 3. Destroy the last remaining attachment of human thought to art. ... 6. The collective art of

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Duchamp quoted by Arturo Schwarz."The Complete Works of Marcel Duchamp'. London, Thames and Hudson, 1969, p.33."For me there is something else in addition to yes, no or indifferent – that is, for instance – the absence of investigations of that type. ... I am against the word 'anti' because it's a

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created monochromes and proclaimed the end of painting. For artists of the Russian Revolution, Rodchenko's radical action was full of utopian possibility. It marked the end of art along with the end of bourgeois norms and practices. It cleared the way for the beginning of a new Russian life, a new

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Italian version into English (1997). "The machine may very well be the appropriate instrument for the creation of an industrial-inflationist art, based on the Anti-Patent; the new industrial culture will be strictly "Made Amongst People" or not at all! The time of the Scribes is over."(...) "When

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Guy-Ernest Debord would be spinning in his grave – had he not been cremated following his suicide in 1994. The arch-rebel who prided himself on fully deserving society's "universal hatred" has now officially been recognised as a "national treasure" in his homeland. The French government has duly

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Tract, 1919. "Dadaism demands: 1) The international revolutionary union of all creative and intellectual men and women on the basis of radical Communism; (...) The immediate expropriation of property (socialization) and the communal feeding of all (...) Introduction of the simultaneist poem as a

1870:"Ernst Van Alphen, a Clark scholar from the Netherlands, suggested that Modernism itself can be characterized as anti-art in that since the earliest gestures of Dada and Futurism, art is seen as transformative and productive, breaking with institutions rather than destructive of images." Source: 444:

by Larry Shiner is an art history book which fundamentally questions our understanding of art. "The modern system of art is not an essence or a fate but something we have made. Art as we have generally understood it is a European invention barely two hundred years old." (Shiner 2003, p. 3)

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Anti-art can take the form of art or not. It is posited that anti-art need not even take the form of art, in order to embody its function as anti-art. This point is disputed. Some of the forms of anti-art which are art strive to reveal the conventional limits of art by expanding its properties.

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Anti-art artworks may articulate a disagreement with the generally supposed notion of there being a separation between art and life. Anti-art artworks may voice a question as to whether "art" really exists or not. "Anti-art" has been referred to as a "paradoxical neologism", in that its obvious

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has developed a concept of anti-art quite different from that outlined above. For Malraux, anti-art began with the 'Salon' or 'Academic' art of the nineteenth century which rejected the basic ambition of art in favour of a semi-photographic illusionism (often prettified). Of Academic painting,

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that have self-consciously sought to transgress traditions or institutions. Anti-art itself is not a distinct art movement, however. This would tend to be indicated by the time it spans—longer than that usually spanned by art movements. Some art movements though, are labeled "anti-art". The

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created supertemporal art: a device for inviting and enabling an audience to participate in the creation of a work of art. In its simplest form, this might involve nothing more than the inclusion of several blank pages in a book, for the reader to add his or her own contributions.

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The philosopher Roger Taylor puts forward that art is a bourgeois ideology that has its origins with capitalism in "Art, an Enemy of the People". Holding a strong anti-essentialist position he states also that art has not always existed and is not universal but peculiar to Europe.

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dialogueless life which accepted this lack as inevitable — but must now be found in a praxis that unifies direct activity with its own appropriate language. The point is to actually participate in the community of dialogue and the game with time that up till now have merely been

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in art, whereas some may reject "universality" as an accepted factor in art. Additionally, some forms of anti-art reject art entirely, or reject the idea that art is a separate realm or specialization. Anti-artworks may also reject art based upon a consideration of art as being

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is a loosely used term applied to an array of concepts and attitudes that reject prior definitions of art and question art in general. Somewhat paradoxically, anti-art tends to conduct this questioning and rejection from the vantage point of art. The term is associated with the

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Paradoxically, most forms of anti-art have gradually been completely accepted by the art establishment as normal and conventional forms of art. Even the movements which rejected art with the most virulence are now collected by the most prestigious cultural institutions.

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as a political force developed unevenly around the world, in some places more emphasis being put on artistic practices, while in others political practises outweighed. In other places still, Surrealist praxis looked to overshadow both the arts and politics. Politically,

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as art. It was used to describe revolutionary forms of art. The term was used later by the Conceptual artists of the 1960s to describe the work of those who claimed to have retired altogether from the practice of art, from the production of works which could be sold.

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in the 1970s, it was not intended as an opportunity for artists to seize control of the means of distributing their own work, but rather as an exercise in propaganda and psychic warfare aimed at smashing the entire art world rather than just the gallery system. As

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occasionally covered their work in urine and excrement. They tried to bring art closer to everyday life, by incorporating objects from daily life into their work, and also by exhibiting and performing their work outside on the street for everyone to see.

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rejected art in its entirety and as a specific activity creating a universal aesthetic in favour of practices directed towards social purposes, "useful" to everyday life, such as graphic design, advertising and photography. In 1921, exhibiting at the

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Paul N. Humble. "Anti-Art and the Concept of Art". In: "A companion to art theory". Editors: Paul Smith and Carolyn Wilde, Wiley-Blackwell, 2002, p. 246. "the readymade has been appropriated as a theoretical paradigm in much contemporary art-school

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subversion. It is claimed to have been at the heart of the events of May 1968, whose spirit it embodied, with its radical critique of all forms of alienation imposed by capitalist society (renamed the "society of spectacle" by the Situationists)".

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Internationale Situationist (no. 1, Paris, June 1958) "Art need no longer be an account of past sensations. It can become the direct organization of more highly evolved sensations. It is a question of producing ourselves, not things that enslave

409:. This is sometimes the case with "supertemporal" artworks, which are by design impermanent. Anti-artists will sometimes destroy their works of art. Some artworks made by anti-artists are purposely created to be destroyed. This can be seen in 3051:(New edition AK Press, Edinburgh 1991. Polish translation, Wydawnictwo Signum, Warsaw 1993. Italian translation AAA edizioni, Bertiolo 1996. Portuguese translation, Conrad Livros, Brazil 1999. Spanish translation, Virus Editorial, 2002). 496:

in 1882, the Incoherents organized charitable art exhibitions intended to be satirical and humoristic, they presented "...drawings by people who can't draw..." and held masked balls with artistic themes, all in the greater tradition of

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has developed anti-art positions. Some "industrial music" bands describe their work as a form of "cultural terrorism" or as a form of "anti-art". The term is also used to describe other intentionally provocative art forms, such as

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By the end of World War II the surrealist group led by André Breton decided to explicitly embrace anarchism. In 1952 Breton wrote "It was in the black mirror of anarchism that surrealism first recognised itself."

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to the interviewer that "the word art etymologically means to do", that art means activity of any kind, and that it is our society that creates "purely artificial" distinctions of being an artist.

350:. Anti-art is also often seen to make use of highly innovative materials and techniques, and well beyond—to include hitherto unheard of elements in visual art. These types of anti-art can be 1197:

films. They would also often supplement the film with live performance, or, through the 'film-debate', directly involve the audience itself in the total experience. The most radical of the

530:, is considered anti-art. Dadaists rejected cultural and intellectual conformity in art and more broadly in society. For everything that art stood for, Dada was to represent the opposite. 3300: 1382:

strived to uphold his stated aims of demonstrating the artist's 'non-professional status...his dispensability and inclusiveness' and that 'anything can be art and anyone can do it.'

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art, abolishing the notion of art as a separate, specialized activity and transforming it so it became part of the fabric of everyday life. From the Situationist's viewpoint, art is

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Some instances of anti-art are suggestive of a reduction to what might seem to be fundamental elements or building blocks of art. Examples of this sort of phenomenon might include

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liked to think they were probably the most radical, politicized, well organized, and theoretically productive anti-art movement, reaching their apex with the student protests and

2214:'Dada is like your hopes: nothing, like your paradise: nothing, like your idols: nothing; like your heroes: nothing, like your artists: nothing, like your religions: nothing' - 1168: 2612:

implication of this development is that a common language can no longer take the form of the unilateral conclusions that characterized the art of historical societies —

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were more radical (compared to the other dadas), believing that the only way to reintegrate art and life was to place both at the service of the socialist revolution."

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declared their affinity for revolutionary politics. By the 1930s many Surrealists had strongly identified themselves with communism. Breton and his comrades supported

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struggle over radical creation such that their struggles with the Party made the late 1920s a turbulent time for both. Many individuals closely associated with

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Alphonse Allais: Marche Funèbre Composée pour les Funérailles d'un Grand Homme Sourd, 1884. First exhibited in the Salon des Incohérents, 1884. Printed in:

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Paul N. Humble. "Anti-Art and the Concept of Art". In: "A companion to art theory". Editors: Paul Smith and Carolyn Wilde, Wiley-Blackwell, 2002. Page 244

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Paul N. Humble. "Anti-Art and the Concept of Art". In: "A companion to art theory". Editors: Paul Smith and Carolyn Wilde, Wiley-Blackwell, 2002, p. 250.

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Anti-art can involve the renouncement of making art entirely. This can be accomplished through an art strike and this can also be accomplished through

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In: "Opening Peter Greenaway's Tulse Luper Suitcases". Guest edited by: Gray Kochhar-Lindgren, Image and Narrative, Vol.VI, issue 2 (12.) August 2005.

3018:. Milano, Mursia, 1971; in French: "L'alienation artistique". Foreword by Pierre Sansot, translated by Anton Harstein. Paris, U.G.E., 10/18, 1977, 1161: 3320: 297:

Anti-art has become generally accepted by the artworld to be art, although some people still reject Duchamp's readymades as art, for instance the

1008: 493: 3236: 2469:"I reduced painting to its logical conclusion and exhibited three canvases: red, blue, and yellow. I affirmed: this is the end of painting." — 445:

Shiner presents (fine) art as a social construction that has not always existed throughout human history and could also disappear in its turn.

124: 2824: 2691: 2527:. 1990. University of Edinburgh Press. A history of the uneasy relations between Surrealists and Communists from the 1920s through the 1950s. 2782: 1431:

disrupted cultural events in London in the 1990s by giving made up flyers of literary events to the homeless with the lure of free drinks.

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artists and writers regard their work as an expression of the philosophical movement first and foremost, with the works being an artifact.

578:'s thought was that "as long as we do things the way we think we once did them we will be unable to achieve any kind of livable society." 1154: 248:

not. Anti-artworks may reject conventional artistic standards altogether, or focus criticism only on certain aspects of art, such as the

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Kathryn Atwood. "The Triumph of Anti-Art: Conceptual and Performance Art in the Formation of Post-Modernism". Afterimage, Sep 1, 2006.

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movement is generally considered the first anti-art movement; the term anti-art itself is said to have been coined by Dadaist

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significance of the modern decomposition and destruction of all art is that the language of communication has been lost. The

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Martin Puchner. "Poetry of the revolution: Marx, manifestos, and the avant-gardes". Princeton University Press, 2006, p. 226.

132: 2552: 294:(1970) stated that "...even the abolition of art is respectful of art because it takes the truth claim of art seriously". 3471: 2043:

North West Arts Association (Great Britain), Alexander Schouvaloff. "Place for the arts". Seel House Press, 1970, p. 244.

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Note the emphasis on the fact that most art adopts the same principles attributed to the concept of "anti-art". Source:

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utilised material appropriated from other films, a technique which would subsequently be developed (under the title of '

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opposition to art has been observed concurring with staples of twentieth-century art or "modern art", in particular

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asked Surrealists to assess their "degree of moral competence", and theoretical refinements included in the second

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Hal Foster. "What's Neo about the Neo-Avant-Garde?". October, Vol. 70, "The Duchamp Effect", Autumn, 1994. p. 19.

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Au prisme du readymade, incises sur l'identité équivoque de l'objet. préface de Philippe Sers et G. Litichevesky

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or it is nothing. In this way, the Situationists saw their efforts as completing the work of both Dada and

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indicated: "I am against systems; the most acceptable system is on principle to have none." In addition,

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for a while, though there was an openness to anarchism that manifested more fully after World War II.

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called for an Art Strike between 1990 and 1993. Unlike earlier art-strike proposals such as that of

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Arguably the first movement that deliberately set itself in opposition to established art were the

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Peter Bürger "Theory of the Avant-Garde". Trans. Michael Shaw. Minneapolis: Minnesota. 1984, p. 51

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could be applied in any circumstance of life, and is not merely restricted to the artistic realm.

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advocated revolution, "living art, anti-art" and "non art reality to be grasped by all peoples".

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challenged individual creativity and redefined art as a nominal rather than an intrinsic object.

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Richter, Hans (1965). "Dada: Art and Anti-art". New York and Toronto: Oxford University Press.

1642: 671:, were working for the "liberation of man." However, Breton's group refused to prioritize the 2959: 2406: 2232: 1080: 458: 3244: 1789: 3425: 2757: 2540: 1060: 881: 689: 586: 484:(1887). First shown 1883 at an "Incohérents" exhibition by Arthur Sapeck (Eugène Bataille). 410: 846: 8: 3466: 2942: 2493: 2470: 2154: 1993: 1612: 1607: 1592: 1557: 1506: 1323: 1075: 1050: 819: 754: 595: 367: 339: 2638:

has shown that the abolition and realization of art are inseparable aspects of a single

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society, there would only be people who engage in the making of art and no "artists".

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were to grow out of a combination of Black Mask and another group called Angry Arts.

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while abolishing both. The situationists renounced the making of art entirely.

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the 20th century: ready-mades, monochromes, empty frames and silence as music.

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necessity of a specific activity of art as creator of a universal aesthetic."

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http://www.berkshirefinearts.com/?page=article&article_id=128&catID=3

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declared that revolutionary art should be "an integral part of life, as in

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rejected the separation between performer and spectator, life and theatre.

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by adding information on neglected viewpoints, or discuss the issue on the

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Anti-art is also a tendency in the theoretical understanding of art and

3268: 2977: 1562: 1368: 1293: 1289: 1206: 1055: 866: 856: 660: 652: 629: 617: 612: 608: 534: 498: 386: 262: 249: 216: 3041:"The Assault on Culture: Utopian currents from Lettrisme to Class War" 2863:"BBC UK Interview with Marcel Duchamp, June 5, 1968 BBC Joan Bakewell" 2805:"The Assault on Culture: Utopian currents from Lettrisme to Class War" 2937: 2601: 1597: 1443: 1386: 1364: 1281: 764: 625: 621: 542: 470: 462: 406: 393: 371: 769: 683:, left his group to work more closely with the Communists. In 1929, 2715:

has qualified the object into art. I have qualified life into art."

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Bijutsu Kyokai), and Hi-Red-Center. Influenced in various ways by

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so that it becomes difficult to distinguish one from the other.

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edited by Rudolf E. Kuenzli, Francis M. Naumann. Google Books.

2069:...dessins exécutés par des gens qui ne savent pas dessiner... 1979: 1847:"The Lights Go On and Off - WHAT ART IS Online, February 2002" 1720: 1118: 1262: 567: 518:, and some aspects of the art movements it inspired, such as 2772: 2740:

Michel Oren (1993) Anti-Art as the End of Cultural History,

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The aesthetics of disturbance: anti-art in avant-garde drama

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as part of a work of art fell through, they burnt a million

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A 1965 Inventory list by Maciunas, quoted in Mr Fluxus, p88

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Manifesto of Industrial Painting: For a unitary applied art

2279: 1749: 1747: 1745: 1743: 1741: 1739: 1737: 1735: 1706:(Reprinted. ed.). London: Phaidon Press. p. 505. 1689: 1536: 1473:

Duchamp's readymades are still regarded as anti-art by the

515: 275: 228: 2278:". University of Chicago Press, 2003, p. 254. "the Berlin 2007:

Art and the Human Adventure. André Malraux's Theory of Art

139: 1939: 1765: 1352: 1348:

began to campaign for an anti-art position. Flynt wanted

693:

excluded anyone reluctant to commit to collective action

2791: 1903:. Continuum International Publishing Group. p. 43. 1732: 211:, each reportedly filled with 30 grams (1.1 oz) of 2494:

Modern History Sourcebook: A Surrealist Manifesto, 1925

2058:. University of Chicago Press, 2003, pp. 234, 236, 245, 1644:

The Art Instinct: Beauty, Pleasure, and Human Evolution

286:

have been cited as early examples of anti-art objects.

574:'s vision of a "final dissolution". A core concept in 231:

movement and is generally accepted as attributable to

3124:

Glossary of Art, Architecture & Design since 1945

2577:"1919–1950: The politics of Surrealism by Nick Heath" 1819: 1817: 1784: 1782: 1780: 2296:"What is Dadaism and what does it want in Germany?". 1996:

New York 8 March 1989. Smile 11, London Summer 1989.

1695: 1311:, a view endorsed by others including the academic 2344:Promenade surréaliste sur la colline de Montmartre 1976:Tilman Osterwold. "Pop art". Taschen, 2003, p. 44. 1814: 1777: 2569: 2434:Philip Beitchman, "Symbolism in the Streets", in 1922: 1920: 1438:was an art foundation that published a series of 3438: 3108:Covers works that are blank, silent, empty, etc. 1888:http://www.encyclopedia.com/doc/1O5-antiart.html 2634:. The critical position since developed by the 1882:This is one dictionary definition of anti-art: 3237:The Bride Stripped Bare by Her Bachelors, Even 1917: 3145: 3091: 1162: 198: 2131:"Early monochrome painting: Les Incohérents" 701:Letterism and the Situationist International 2600:. Thesis 187 and 191. 1967. Translation by 2332: 1955:, 27 October 2000. Retrieved on 2 May 2009. 1823:Interview of Roger Taylor by Stewart Home. 1671:. University of Michigan Press, 1995, p. 7. 53:Learn how and when to remove these messages 3152: 3138: 2356:University of Paris III: Sorbonne Nouvelle 1169: 1155: 505: 465:posited that art was a consequence of the 203:) is a 1961 artwork by the Italian artist 2292:The Dadaist revolutionary central council 1936:, 20 April 2003. Retrieved on 2 May 2009. 1631: 539:the Dadaist revolutionary central council 533:Where art was concerned with traditional 176:Learn how and when to remove this message 158:Learn how and when to remove this message 3057:The Invention of Art: A Cultural History 2984:, 1967, numerous editions; in English: " 2546: 2504:"Manifesto for a Free Revolutionary Art" 2413:(with a postscript by Werner Haftmann), 2371: 2276:The Invention of Art: A Cultural History 2159:Empty frames (at Radical Art, Amsterdam) 2055:The Invention of Art: A Cultural History 1970: 655:was above all a revolutionary movement. 492:in late 19th. century Paris. Founded by 475: 441:The Invention of Art: A Cultural History 312: 187: 138:Relevant discussion may be found on the 3033:, Harvester Press, 1978, Fontana, 1976. 2428: 2226: 2135:Monochromes (at Radical Art, Amsterdam) 1928:"In bed with Tracey, Sarah ... and Ron" 1253:Other similar anti-art groups included 570:is always false", probably approved of 541:outlined the Dadaist ideals of radical 3439: 2896: 2111:Readymades (at Radical Art, Amsterdam) 2107:"Les Expositions des Arts Incohérents" 2009:. Amsterdam, Rodopi, 2009. pp.275-286. 1898: 1701: 1681: 1679: 1677: 1647:. Bloomsbury Publishing. p. 202. 1637: 1272:Beginning in the 1950s in France, the 1181:Founded in the mid-1940s in France by 16:Art rejecting prior definitions of art 3197:Yvonne and Magdeleine Torn in Tatters 3133: 2825:Marcel Duchamp: Artist of the Century 2155:"Mey-Sonier: Tableau d'à Venir, 1883" 1355:to become superseded by the terms of 1329: 3345:8 × 8: A Chess Sonata in 8 Movements 3060:. University of Chicago Press, 2003 1326:as an "industrial-inflationist art" 107: 59: 18: 2492:"Declaration of January 27, 1925". 1674: 651:was explicit in his assertion that 607:Beginning in the early 1920s, many 599:mode of production, a new culture. 469:and therefore concluded that, in a 13: 3205:Nude Descending a Staircase, No. 2 3159: 3085: 2359:Center for the Study of Surrealism 1385:In the 1960s, the Dada-influenced 453: 239:around 1914, when he began to use 14: 3483: 3112: 2632:realize art without abolishing it 2382:"Un urmuzian: Ionathan X. Uranus" 1527:Classificatory disputes about art 1031:Second Situationist International 510:Beginning in Switzerland, during 34:This article has multiple issues. 3416:Raymond Duchamp-Villon (brother) 3319: 2899:"The resurrection of Guy Debord" 2628:abolish art without realizing it 2397:, Vol. V, Nr. 96, September 2006 1994:"Towards an Acognitive Culture". 1284:viewpoint, seeing their task as 1129: 1117: 1105: 725: 265:of a segment of the population. 112: 64: 23: 3175:List of works by Marcel Duchamp 2890: 2880: 2855: 2830: 2818: 2763: 2747: 2734: 2718: 2702: 2665: 2655: 2645: 2598:" The Society of the Spectacle" 2590: 2530: 2517: 2507: 2498: 2486: 2476: 2463: 2453: 2417:, London & New York, 2004. 2400: 2319: 2309: 2285: 2268: 2252: 2220: 2208: 2202:"Art is dead. Long live Dada."— 2196: 2184: 2171: 2147: 2123: 2099: 2088:from the original on 1 May 2009 2074: 2061: 2046: 2037: 2012: 1999: 1892: 1876: 1864: 1839: 1830: 1802: 965:The Revolution of Everyday Life 42:or discuss these issues on the 3277:Belle Haleine, Eau de Voilette 2436:I Am a Process with No Subject 1756: 1661: 947:On the Poverty of Student Life 1: 2966:. Thames & Hudson, 1965. 2954:From the Easel to the Machine 2897:Gallix, Andrew (2009-03-18). 2687:Internationale Situationniste 1624: 1215:abandoned images altogether. 1009:International Movement for an 667:'s followers, along with the 642:International Left Opposition 634:Bureau of Surrealist Research 602: 3363:Readymades of Marcel Duchamp 3285:Why Not Sneeze, Rose Sélavy? 3253:Tulip Hysteria Co-ordinating 3229:In Advance of the Broken Arm 3092:Craig Dworkin (2013-02-15). 2986:The Society of the Spectacle 2780:Ben Morea: art and anarchism 2483:today is constructive life." 1692:. Retrieved 23 January 2010. 1257:(Neo-Dadaizumu Oganaizazu), 1245:In Japan in the late 1950s, 972:The Society of the Spectacle 933:Can Dialectics Break Bricks? 7: 3031:Art, an Enemy of the People 2558:September 18, 2012, at the 2440:University of Florida Press 1949:"Stuck on the Turner Prize" 1484: 1367:meaning approximately pure 632:as communist. In 1925, the 301:group of artists, who are " 10: 3488: 3472:Situationist International 3400:Portrait of Marcel Duchamp 3074:, L'Harmattan, Paris 2023 2931: 2368:; retrieved April 23, 2008 2181:. Paris: Ollendorf, 1897. 2024:www.stewarthomesociety.org 1333: 1301:Situationist International 1278:Situationist International 1017:Situationist International 955:Report on the Construction 719:Situationist International 448: 3355: 3328: 3317: 3181:Portrait of Dr. Dumouchel 3167: 2690:no.3 (1959). In English: 2684:No. 9 (1959). In French: 2566:. Accessed March 20, 2007 1704:The 20th-Century art book 1464: 1224:Gottfried Wilhelm Leibniz 1091:Youth International Party 733:It is forbidden to forbid 423: 256:. Some anti-artworks may 79:toward certain viewpoints 3421:Suzanne Duchamp (sister) 3411:Jacques Villon (brother) 2998:Society of the Spectacle 2306:Communist state prayer." 1011:Imaginist Bauhaus (IMIB) 690:manifeste du surréalisme 566:, who once stated that " 405:seen in the instance of 308: 121:This article or section 3016:L'alienazione artistica 2982:La société du spectacle 2785:April 25, 2009, at the 2742:Performing Arts Journal 2681:Notizie Arti Figurative 2672:Giuseppe Pinot-Gallizio 2630:; surrealism sought to 2387:March 27, 2009, at the 1702:Barnes, Rachel (2001). 1427:had done in the 1960s, 1320:Giuseppe Pinot-Gallizio 1274:Letterist International 1218:In 1956, recalling the 1023:Council for Maintaining 993:Letterist International 659:believed the tenets of 506:Dada and constructivism 207:, which consists of 90 3406:Alexina Duchamp (wife) 2964:Dada: Art and Anti-Art 2411:Dada. Art and Anti-art 2240:Cite journal requires 2179:Album primo-avrilesque 2082:"Les arts Incohérents" 1492:Anarchism and the arts 897:Gianfranco Sanguinetti 485: 400:in the making of art. 331: 220: 215:. One of his friends, 199: 3118:Walker, John. (1992) 2744:, volume 15, issue 2. 2729:"Pas d'Art" (No art). 2442:, Gainesville, 1988. 2341:Jacques-Yves Conrad, 1899:Adorno, T.W. (1970). 1825:"Art Is Like Cancer". 1081:Libertarian socialism 479: 459:Jean-Jacques Rousseau 316: 282:around 1914, and his 191: 125:synthesis of material 3452:Constructivism (art) 3426:Marcel Duchamp Prize 3070:Jean-Marc Rouvière: 3000:, Rebel Press 2004, 2988:", Zone Books 1995, 2711:, 1972 (Postcard). " 2640:transcendence of art 1827:Mute Magazine. 2004. 1686:"Glossary: Anti-art" 1136:Communism portal 1124:Socialism portal 1112:Anarchism portal 882:Constant Nieuwenhuys 411:auto-destructive art 398:industrial processes 340:monochrome paintings 327:1917. Photograph by 258:reject individualism 2943:The German Ideology 2471:Alexander Rodchenko 2415:Thames & Hudson 1613:The Poem of the End 1608:Street installation 1593:Robert Rauschenberg 1558:Guerrilla gardening 1507:Appropriation (art) 1324:Industrial Painting 1299:The members of the 1076:Libertarian Marxism 1051:Anarchist communism 755:Class consciousness 620:was ultra-leftist, 596:Alexander Rodchenko 368:appropriation (art) 85:improve the article 3301:La Boîte-en-valise 3245:Apolinère Enameled 2364:2008-03-27 at the 2350:2008-09-15 at the 2325:Duchamp quoted by 2301:2008-09-13 at the 1795:2008-09-26 at the 1603:Sound installation 1568:Neo-conceptual art 1407:During the 1970s, 1330:Neo-Dada and later 1309:May 1968 in France 862:Jacqueline de Jong 805:Situationist prank 800:Situation (Sartre) 548:Beginning in 1913 486: 332: 221: 135:to the main topic. 129:verifiably mention 123:possibly contains 3434: 3433: 3293:Monte Carlo Bonds 3080:978-2-14-031710-1 3066:978-0-226-75342-3 2950:Nikolai Tarabukin 1618:Transgressive art 1394:primitive society 1212:Howlings for Sade 1179: 1178: 1066:Council communism 902:Alexander Trocchi 887:Charles Radcliffe 847:Michèle Bernstein 592:5x5=25 exhibition 364:combine paintings 288:Theodor W. Adorno 186: 185: 178: 168: 167: 160: 106: 105: 57: 3479: 3457:Contemporary art 3393:Fountain Archive 3323: 3154: 3147: 3140: 3131: 3130: 3107: 2925: 2924: 2918: 2917: 2894: 2888: 2884: 2878: 2877: 2875: 2874: 2865:. 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MIT Press. 3095: 3090: 3089: 3081: 3077: 3073: 3069: 3067: 3063: 3059: 3058: 3053: 3050: 3049:0-948518-88-X 3046: 3042: 3038: 3035: 3032: 3028: 3025: 3024:2-264-00187-9 3021: 3017: 3013: 3010: 3007: 3006:0-946061-12-2 3003: 2999: 2995: 2994:0-942299-79-5 2991: 2987: 2983: 2979: 2976: 2973: 2972:0-500-20039-4 2969: 2965: 2961: 2958: 2955: 2951: 2948: 2945: 2944: 2939: 2936: 2935: 2923: 2912: 2908: 2904: 2900: 2893: 2883: 2869:on 2010-11-20 2868: 2864: 2858: 2843: 2839: 2833: 2826: 2821: 2814: 2813:0-948518-88-X 2810: 2806: 2802: 2797: 2795: 2788: 2784: 2781: 2775: 2766: 2759: 2755: 2750: 2743: 2737: 2730: 2726: 2721: 2714: 2710: 2705: 2697: 2693: 2689: 2688: 2683: 2682: 2677: 2673: 2668: 2658: 2648: 2641: 2637: 2636:situationists 2633: 2629: 2624: 2619: 2615: 2611: 2607: 2604:in 2002."The 2603: 2599: 2593: 2578: 2572: 2565: 2561: 2557: 2554: 2549: 2542: 2538: 2533: 2526: 2520: 2514: 2510: 2501: 2495: 2489: 2479: 2472: 2466: 2456: 2449: 2448:0-8130-0888-3 2445: 2441: 2437: 2431: 2424: 2423:0-500-20039-4 2420: 2416: 2412: 2408: 2403: 2396: 2395: 2390: 2386: 2383: 2378:(in Romanian) 2374: 2367: 2363: 2360: 2357: 2353: 2349: 2346: 2345: 2335: 2328: 2322: 2312: 2304: 2300: 2297: 2293: 2288: 2281: 2277: 2271: 2265: 2261: 2255: 2247: 2234: 2223: 2217: 2211: 2205: 2204:Walter Serner 2199: 2192: 2191:Jean Tinguely 2187: 2180: 2174: 2160: 2156: 2150: 2136: 2132: 2126: 2112: 2108: 2102: 2087: 2084:(in French). 2083: 2077: 2070: 2064: 2057: 2056: 2049: 2040: 2025: 2021: 2015: 2008: 2005:Derek Allan, 2002: 1995: 1991: 1987: 1982: 1973: 1964: 1962: 1954: 1950: 1945: 1943: 1935: 1934: 1929: 1923: 1921: 1912: 1906: 1902: 1895: 1889: 1885: 1879: 1873: 1867: 1852: 1848: 1842: 1833: 1826: 1820: 1818: 1810: 1805: 1798: 1794: 1791: 1785: 1783: 1781: 1771: 1769: 1759: 1750: 1748: 1746: 1744: 1742: 1740: 1738: 1736: 1726: 1724: 1715: 1709: 1705: 1698: 1691: 1687: 1682: 1680: 1678: 1670: 1664: 1656: 1654:9781608191932 1650: 1646: 1645: 1640: 1639:Dutton, Denis 1634: 1630: 1619: 1616: 1614: 1611: 1609: 1606: 1604: 1601: 1599: 1596: 1594: 1591: 1589: 1588:Postmodernism 1586: 1584: 1581: 1579: 1576: 1574: 1571: 1569: 1566: 1564: 1561: 1559: 1556: 1554: 1553:Guerrilla art 1551: 1548: 1545: 1543: 1540: 1538: 1535: 1533: 1530: 1528: 1525: 1523: 1520: 1518: 1515: 1513: 1510: 1508: 1505: 1503: 1500: 1498: 1497:Anti-anti-art 1495: 1493: 1490: 1489: 1482: 1480: 1479:anti-anti-art 1476: 1471: 1462: 1460: 1455: 1451: 1449: 1445: 1441: 1437: 1432: 1430: 1426: 1421: 1417: 1413: 1410: 1405: 1401: 1399: 1398:Motherfuckers 1395: 1391: 1388: 1383: 1381: 1377: 1372: 1370: 1366: 1362: 1358: 1354: 1351: 1347: 1342: 1337: 1327: 1325: 1321: 1316: 1314: 1310: 1306: 1302: 1297: 1295: 1291: 1290:revolutionary 1287: 1283: 1279: 1275: 1270: 1268: 1264: 1260: 1256: 1251: 1248: 1243: 1240: 1235: 1233: 1229: 1225: 1221: 1216: 1214: 1213: 1208: 1204: 1200: 1196: 1192: 1188: 1184: 1172: 1167: 1165: 1160: 1158: 1153: 1152: 1150: 1149: 1143: 1139: 1137: 1127: 1125: 1120: 1115: 1113: 1103: 1102: 1101: 1100: 1092: 1089: 1087: 1086:Ultra-leftism 1084: 1082: 1079: 1077: 1074: 1072: 1069: 1067: 1064: 1062: 1059: 1057: 1054: 1052: 1049: 1048: 1041: 1040: 1032: 1029: 1026: 1020: 1018: 1015: 1012: 1006: 1004: 1001: 999: 996: 994: 991: 990: 986:Organizations 983: 982: 974: 973: 969: 967: 966: 962: 960: 958: 957:of Situations 951: 949: 948: 944: 942: 941: 937: 935: 934: 930: 929: 922: 921: 913: 910: 908: 905: 903: 900: 898: 895: 893: 890: 888: 885: 883: 880: 878: 875: 873: 870: 868: 865: 863: 860: 858: 855: 853: 850: 848: 845: 844: 840: 835: 834: 826: 823: 821: 818: 816: 813: 811: 808: 806: 803: 801: 798: 796: 793: 791: 788: 786: 783: 781: 778: 776: 773: 771: 768: 766: 763: 761: 758: 756: 753: 751: 748: 747: 740: 739: 734: 728: 724: 723: 720: 716: 715: 711: 707: 706: 698: 694: 692: 691: 686: 682: 678: 674: 670: 666: 662: 658: 654: 650: 645: 643: 639: 635: 631: 627: 623: 619: 614: 610: 600: 597: 593: 588: 584: 579: 577: 573: 572:Walter Serner 569: 565: 561: 560:Tristan Tzara 557: 555: 551: 546: 544: 540: 536: 531: 529: 525: 521: 517: 513: 503: 500: 495: 491: 483: 478: 474: 472: 468: 464: 460: 446: 443: 442: 437: 433: 431: 421: 418: 417:André Malraux 414: 412: 408: 403: 399: 395: 391: 388: 387:revolutionary 383: 381: 377: 373: 369: 365: 361: 357: 353: 349: 345: 341: 336: 330: 326: 324: 319: 315: 306: 304: 303:anti-anti-art 300: 295: 293: 289: 285: 281: 277: 272: 271:art movements 266: 264: 259: 255: 251: 245: 242: 241:found objects 238: 234: 230: 225: 218: 214: 210: 206: 205:Piero Manzoni 201: 196: 195: 194:Artist's Shit 190: 180: 177: 162: 159: 151: 141: 136: 134: 130: 126: 119: 110: 109: 100: 90: 86: 80: 78: 73:This article 71: 62: 61: 56: 54: 47: 46: 41: 40: 35: 30: 21: 20: 3398: 3391: 3384: 3367: 3343: 3335: 3309:Étant donnés 3307: 3299: 3291: 3283: 3275: 3267: 3259: 3251: 3243: 3235: 3227: 3219: 3211: 3203: 3195: 3187: 3179: 3123: 3093: 3071: 3055: 3037:Stewart Home 3030: 3015: 2997: 2981: 2963: 2960:Hans Richter 2953: 2941: 2920: 2914:. 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Retrieved 1850: 1841: 1832: 1804: 1758: 1703: 1697: 1668: 1663: 1643: 1633: 1547:Found object 1517:Atonal music 1472: 1468: 1452: 1440:Situationist 1436:K Foundation 1433: 1429:Stewart Home 1416:Stewart Home 1414: 1406: 1402: 1384: 1373: 1360: 1357:veramusement 1356: 1343: 1339: 1317: 1298: 1285: 1280:developed a 1271: 1252: 1247:Group Kyushu 1244: 1239:Isidore Isou 1236: 1232:Isidore Isou 1217: 1210: 1202: 1195:Situationist 1191:détournement 1183:Isidore Isou 1180: 998:Golden Fleet 970: 963: 952: 945: 938: 931: 892:Ralph Rumney 795:Recuperation 775:Détournement 749: 708:Part of the 695: 688: 681:Louis Aragon 649:André Breton 646: 638:Leon Trotsky 606: 580: 558: 547: 532: 509: 487: 481: 467:class system 457: 439: 438: 434: 427: 415: 402:Anti-artists 401: 384: 360:détournement 356:found object 337: 333: 321: 296: 291: 267: 246: 223: 222: 192: 172: 154: 145: 122: 94: 74: 50: 43: 37: 36:Please help 33: 3312:(1946–1966) 3304:(1934–1966) 3240:(1915–1923) 3221:Bottle Rack 2847:15 December 2725:Ben Vautier 2692:Molly Klein 2623:represented 2339:(in French) 2260:tabula rasa 2029:15 December 1986:Henry Flynt 1856:15 December 1809:Sadie Plant 1578:Noise music 1522:Avant-garde 1502:Anti-poetry 1350:avant-garde 1346:Henry Flynt 1286:superseding 1282:dialectical 1003:Gruppe SPUR 912:René Viénet 877:Jørgen Nash 673:proletarian 630:Surrealists 512:World War I 490:Incoherents 237:World War I 3467:Modern art 3441:Categories 3269:L.H.O.O.Q. 3126:, 3rd. ed. 3120:"Anti-Art" 2978:Guy Debord 2916:2020-10-05 2873:2013-10-22 2583:2009-12-26 2425:, p.48, 49 2164:2009-05-06 2140:2009-05-06 2116:2009-05-06 2092:2009-05-06 1713:0714835420 1625:References 1563:Modern art 1425:Black Mask 1390:Black Mask 1369:recreation 1365:neologisms 1294:surrealism 1187:Letterists 1056:Autonomism 867:Asger Jorn 857:Guy Debord 679:, notably 661:Surrealism 653:Surrealism 618:Surrealism 613:Surrealism 609:Surrealist 603:Surrealism 554:readymades 535:aesthetics 514:, much of 499:Montmartre 494:Jules Lévy 407:happenings 394:readymades 372:happenings 352:readymades 348:chance art 284:readymades 263:oppressive 250:art market 217:Enrico Baj 197:(Italian: 148:April 2009 97:April 2009 77:unbalanced 39:improve it 3280:(1920–21) 3248:(c. 1916) 3192:(1910–11) 3094:No Medium 2938:Karl Marx 2911:0261-3077 2838:"YouTube" 2602:Ken Knabb 2380:Ion Pop, 2354:, at the 1598:Sound art 1475:Stuckists 1450:in cash. 1444:banknotes 1387:art group 1341:and art. 1322:proposed 1237:In 1960, 1199:Letterist 810:Spectacle 765:Communism 712:series on 626:anarchist 622:communist 585:in 1919, 543:communism 471:communist 463:Karl Marx 140:talk page 89:talk page 45:talk page 3368:Anti-art 3261:Fountain 3189:The Bush 3168:Artworks 2887:theory." 2783:Archived 2696:original 2610:negative 2606:positive 2556:Archived 2543:". 1924. 2385:Archived 2362:Archived 2348:Archived 2299:Archived 2086:Archived 1793:Archived 1573:Nihilism 1485:See also 1409:King Mob 1380:Maciunas 1374:In 1963 1344:In 1962 1336:Neo-Dada 1318:In 1959 1255:Neo-Dada 1228:Lettrism 940:Mémoires 750:Anti-art 743:Concepts 710:Politics 640:and his 520:Neo-Dada 430:fine art 390:activism 380:body art 323:Fountain 299:Stuckist 254:high art 224:Anti-art 209:tin cans 3356:Related 2946:. 1845. 2932:Sources 2713:Duchamp 2614:belated 2539:. 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