Neo-Dada is a label applied primarily to audio and visual art that has similarities in method or intent to earlier Dada artwork. It is the foundation of Fluxus, Pop Art and Nouveau réalisme. Neo-Dada is exemplified by its use of modern materials, popular imagery, and absurdist contrast. It also patently denies traditional concepts of aesthetics.

The term was popularized by Barbara Rose in the 1960s and refers primarily, although not exclusively, to a group of artwork created in that and the preceding decade.

Artists linked with the term include Genpei Akasegawa, John Chamberlain, Jim Dine, Kommissar Hjuler, Jasper Johns, Yves Klein, George Maciunas, Yoko Ono, Nam June Paik, Allan Kaprow, George Brecht, Wolf Vostell, Joseph Beuys, Dick Higgins, Ushio Shinohara, and Robert Rauschenberg.

Jono El Grande (born July 29, 1973) is the stage name of Jon Andreas Håtun.

Jono El Grande is an autodidactic Norwegian composer, band leader, guitarist and conductor. He cites as his major sources of influence Captain Beefheart, '60s Frank Zappa, King Crimson, Igor Stravinsky and Art Rock. Jono El Grande claims that his extreme mixture of genres and timbres is a result of his musical vision: moving away from the traditional concept of 'music as a result of social processes'.

Although Jono El Grande is enjoying modest growth on the European avant-garde scene, he is most well known in his own country for his eccentric and amusing performance art/dada-inspired live shows. In 2000 he formed The Jono El Grande Orchestra, renamed Jono El Grande & The Luxury Band in 2005.

Jono El Grande has released five albums, Utopian Dances (Krusedull Prod. - 1999), Fevergreens (Rune Grammofon - 2003),Neo Dada (Rune Grammofon - 2009), "Phantom Stimulance" (Rune Grammofon - 2010) and The Choko King (Rune Arkiv - 2011) in addition to contribute with compositions on other projects (both Rune Grammofons anniversary albums Money Will Ruin Everything 1 & 2” and on Wire Tapper #21”, the avant-garde music magazine The Wire’s 21st edition of their CD series). Jono El Grande served as festival composer for Happy Days 2007, presented by Ny Musikk, the Norwegian section of ISCM – International Society For Contemporary Music. He also became a member of Norwegian Society Of Composers fall 2010. He played at the Zappanale #22 (August 2011) and world premiered a new orchestral piece for the Bergen located sinfonietta orchestra BIT20 Ensemble December 2011.

Madeline Charlotte Moorman Garside (November 18, 1933–November 8, 1991) was an American cellist and performance artist.

She was born in Little Rock, Arkansas. She studied cello from age ten and won a scholarship to Centenary College (Shreveport, Louisiana) where she took her B.A. in music in 1955. She received her M.A. from the University of Texas at Austin and continued on to postgraduate studies at The Juilliard School in 1957.

She began a traditional concert hall career but was soon drawn into the active mixed-media performance art scene of the 1960s. She became a close associate and collaborator of Korean avant-garde artist Nam June Paik, with whom she toured widely. In 1963 she established the New York Avant Garde Festival which played annually in various locations including Central Park and the Staten Island Ferry until 1980 (except for the years 1970, 1976 and 1979).

In 1967 she achieved notoriety for her performance of Paik's Opera Sextronique, a seminude performance which resulted in her arrest on charges of indecent exposure; she was given a suspended sentence. The incident gave her nationwide fame as the "topless cellist." She also performed Paik's TV Bra for Living Sculpture (1969) with two small television receivers attached to her breasts. Another memorable piece was her performance of Jim McWilliams' Sky Kiss in many locations including New York and Sydney, Australia, which involved her hanging suspended from helium-filled weather balloons or the brightly colored inflatable sculptures of Otto Piene.

Maurice Berger (1956) is an American cultural historian, curator, and art critic.

Maurice Berger is a cultural historian, art critic, and curator. He is Research Professor and Chief Curator at the Center for Art, Design and Visual Culture, University of Maryland, Baltimore County and Consulting Curator at the Jewish Museum in New York. A student of the pioneering theoretical art historian, Rosalind E. Krauss, he completed a B.A. at Hunter College and Ph.D. in art history and critical theory at the City University of New York. He then turned his attention to race.[1] One of the few white kids in his low-income housing project on Manhattan's Lower East Side, Berger grew up hyper-sensitized to race. Due to his experiences, he looked beyond the world of "critical theory" to address the relevance of visual culture, and especially images of race, to everyday life.[2]