Equivocal Masculinity: New York Dada in the context of World War I

Abstract

This essay explores a cluster of works by the group of artists retroactively labelled `New York Dada’ in light of the pressures exerted on masculine subjectivity during the WWI period. While the war has, for obvious reasons, been a key reference point for studies of European Dada, it has never been acknowledged (beyond passing references) as a context for the New York group (in particular, for the work of the key figures Man Ray, Francis Picabia and Marcel Duchamp). Failing to attend to the Great War as a crucial historical pressure on the group simply accepts at face value these artists’ own desire to escape the war (in the case of Picabia, Duchamp, Jean Crotti and others, by leaving Europe and coming to New York). This essay, in contrast, insists upon attending to the effects of the war environment – with its heated discourses of heroism and patriotic nationalism – on the New York Dada group (which, after all, would not have existed had these artists not left Europe for New York because of the war). Examining the relationship of each of the key NewYork Dada figures to the war, it explores a selection of their works in relation to these experiences. Ultimately, I argue that the artists’ non‐combatant masculinity, compromised in the face of dominant discourses of militarized masculinity, is eerily and disconcertingly echoed by the predominance of shadows, gaps and absences in their visual art works.