Gene Jackson

Publication Date


Document Type


First Advisor

Arends, Jack

Degree Name

M.F.A. (Master of Fine Arts)

Legacy Department

Department of Art


Art; Dadaism


This thesis discussed the Pop Art and Dada Art movements and the artists involved. Each art movement and the artists are discussed separately with a social and aesthetic comparison made between the two movements. The resource materials came from various areas. There are a number of books pertaining to Dada Art, plus periodical literature. The major source areas for Pop Art were the recent articles in art periodicals and magazines. A more direct source was viewing the exhibitions of the work of Pop artists at the art galleries and museums. The Pop Art movement is discussed in terms of its relationship to a commercial and mechanized society; for the Pop artist uses objects and slogans with which the public has become familiar through the advertising media. A relationship is presented between the Pop artist, his art, and his society. The approaches of the artists are discussed in tents of technique and philosophy. The Dada Art movement is also approached in terms of its relationship to a disillusioned European society after the First World War. The Dada artists, in general, are discussed in terms of their technique as it was used to express their environment. Individual Dada artists and their modes of expression are also considered. The relationships and differences of the two movements are compared both in the areas of aesthetic and social concerns, and in the final art products of each movement. Generally speaking, in the area of aesthetics, the Dada artists purposefully used and presented negative subject matter, that is, subject matter that was not considered art. While the Pop artists have used negative subject matter, they have presented it as a positive expression. Both movements reject the traditional aesthetic approach to art. A social relationship exists in that the two movements have presented a visual commentary on the times in which the art was produced.


Includes bibliographical references (pages 45-46)


ii, 46 pages




Northern Illinois University

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