The early adaptation of assemblage was underpinned by cubist and futurist pioneers such as Carra, Picasso and Gris. They were informed by Duchamp’s collection of ‘ready-mades’ around the same period, how an everyday object could be classed as fine art and suggest identical themes. The use of ‘Papier Colle’ was a prominent technique throughout, an artistic representation of a physical object and closer to painting to form decorative compositions, unlike the three-dimensional and tangible properties of Neo-DADA five decades later. An example is Carlo Carra’s 1914 ‘INTERVENTIONIST DEMONSTRATION’ A use of a single medium, Tempera but illustrating three-dimensional quality and reproductions of journalistic typography from articles printed at the time, in an eclectic manner. The positioning of disparate images form one cohesive artwork in itself. Futurists were attracted to new technology and the senses it heightened. Experimentation was a key part of their manifesto written in 1909 by Writer Filippo Tommass Marinette. Chromatography and animation was incorporated into works like ‘interventionist demonstration’ to depict movement and energy. The publication through broadcasting channels such as La Figaro in Italy helped revolutionise the movement by socially engaging with a wider audience, discussing what art hadn’t before.
The members of Cubism moved away from renaissances photo-realistic representation of landscape and figurative works. The space behind and front of an object was blended and a relationship was then formed, flowing through and an energy conveyed. The viewer can have a journey through the changeable characteristics within the image. This changed how people saw artwork in terms of a cultural shift, in response to the changing political tides and the possibility of war. Analytical Cubism signalled the prospects of WW1 and depression through non-conventional artefacts. In relation to the subject question, you could suggest that the movement was a prediction and forward-thinking prophecy of future events, the truth behind an idealised world that was portrayed in many traditional art forms, the truth that no one wanted to visualize. Social commentary was a subject at the time controlled by journalistic channels, therefore for art to adopt those ideologies symbolizes a shift in audience participation in itself.