which neo-dada artists are often seen as a bridge from abstract expressionism to pop art?
Among the more outlandish and memorable performances was “Pelican,” which Rauschenberg devised when his name was erroneously listed as a choreographer (rather than a technician) for the Judson Dance Theater at the 1963 Pop Festival, held at a Washington, D.C., skating rink. Taking advantage of the unplanned opportunity and the unusual location, he choreographed a work performed on roller skates and with a 10-foot-diameter circle of parachute silk strapped to his back.
Following his international triumph in Venice, Rauschenberg pushed the experimental edges of his work. He founded E.A.T. — Experiments in Art and Technology — to collaborate with scientists and engineers from Bell Laboratories and elsewhere, just as he collaborated with master printers at Gemini G.E.L. to produce 1968’s “Booster,” at 6 feet the largest lithograph printed to date.
Robert Rauschenberg also used ‘found images’ in his art but, unlike Johns’ images, they are combined in a relationship with one another or with real objects. The work of both these artists is often referred to as Neo-Dada as it draws on ‘found elements’, first explored by Dadaists such as Marcel Duchamp and Kurt Schwitters.
ROY LICHENSTEIN (1923-1997)
‘The Artist’s Studio No. 1 (Look Mickey)’, 1973
(oil, acrylic resin and sand on canvas)
Clement Greenberg proclaimed abstract expressionism and Jackson Pollock in particular as the epitome of aesthetic value. He supported Pollock’s work on formalistic grounds as simply the best painting of its day and the culmination of an art tradition going back via Cubism and Cézanne to Monet, in which painting became ever-‘purer’ and more concentrated in what was ‘essential’ to it, the making of marks on a flat surface. 
In 1958, Mark Tobey became the first American painter since Whistler (1895) to win top prize at the Venice Biennale. 
Neo-Dada in Italy
After the Second World War, in Italy, there was a certain interest in the poetics of the object, even within that informal art denigrated by pop artists. Just think of the sacks of which Alberto Burri used in his paintings, the fragments of stones and glass of Fontana, the iron pieces reworked in the creations of Ettore Colla and also the collages and assemblages of Enrico Baj and Brajo Fuso.
Neo-Dada was exemplified by its use of modern materials, popular imagery, and absurdist contrast. It was a reaction to the personal emotionalism of Abstract Expressionism and, taking a lead from the practice of Marcel Duchamp and Kurt Schwitters, denied traditional concepts of aesthetics.
For half a century (1890-1940) Paris remained the centre of world art, culminating in the dazzling works of Impressionism, Post-Impressionism, Fauvism, Cubism, Dada and Surrealism. The Paris School is a term used by art historians to denote the community of artists, both French and foreign, working in the city during the first half of the 20th century, rather than a strictly defined style, school or movement. For many reasons, Paris was exceptionally attractive to artists. It was free of political repression, it was home to a number of influential 20th century painters (eg. Pablo Picasso, Georges Braque, Georges Rouault, Henri Matisse, Fernand Leger, Amedeo Modigliani, Piet Mondrian, Marc Chagall, Chaïm Soutine, Mikhail Larionov, Wassily Kandinsky, Constantin Brancusi, to name but a few), and it boasted a booming art world with galleries, collectors and critics to support artists with talent. The twin leaders (chefs d’école) were Picasso and Matisse.
Neue Sachlichkeit (Germany, c.1925-35)