Dada Budd Research Paper

Dada
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For other uses, see Dada (disambiguation).

Cover of the first edition of the publication Dada by Tristan Tzara; Zurich, 1917
Dada /ˈdɑːdɑː/ or Dadaism was an art movement of the European avant-garde in the early 20th century. Many claim Dada began in Zurich, Switzerland in 1916, spreading to Berlin shortly thereafter but the height of New York Dada was the year before in 1915.[1] To quote Dona Budd 's The Language of Art Knowledge,
Dada was born out of negative reaction to the horrors of World War I. This international movement was begun by a group of artist and poets associated with the Cabaret Voltaire in Zurich. Dada rejected reason and logic, prizing nonsense,
irrationality and intuition. The origin of the name Dada is unclear; some believe that it is a nonsensical word. Others maintain that it originates from the Romanian artists Tristan Tzara 's and Marcel Janco 's frequent use of the words da, da, meaning yes, yes in the Romanian language. Another theory says that the name "Dada" came during a meeting of the group when a paper knife stuck into a French-German dictionary happened to point to 'dada ', a French word for 'hobbyhorse '.[2]
The movement primarily involved visual arts, literature, poetry, art manifestoes, art theory, theatre, and graphic design, and concentrated its anti-war politics through a rejection of the prevailing standards in art through anti-art cultural works. In addition to being anti-war, Dada was also anti-bourgeois and had political affinities with the radical left.
Dada activities included public gatherings, demonstrations, and publication of art/literary journals; passionate coverage of art, politics, and culture were topics often discussed in a variety of media. Key figures in the movement included Hugo Ball, Emmy Hennings, Hans Arp, Raoul Hausmann, Hannah Höch, Johannes Baader, Tristan Tzara, Francis Picabia, Richard Huelsenbeck, Georg Grosz, John Heartfield, Marcel Duchamp, Beatrice Wood, Kurt Schwitters, and Hans Richter, among others. The movement influenced later styles like the avant-garde and downtown music movements, and groups including surrealism, Nouveau réalisme, pop art and Fluxus.
Marc Lowenthal, in I Am a Beautiful Monster: Poetry, Prose, And Provocation, tells us:
Dada is the groundwork to abstract art and sound poetry, a starting point for performance art, a prelude to postmodernism, an influence on pop art, a celebration of antiart to be later embraced for anarcho-political uses in the 1960s and the movement that lay the foundation for Surrealism.[3]
Contents
[hide]
1 Overview
2 History
2.1 Zurich
2.2 Berlin
2.3 Cologne
2.4 New York
2.5 Paris
2.6 Netherlands
2.7 Georgia
2.8 Yugoslavia
2.9 Italy
2.10 Tokyo
2.11 Russia
3 Poetry; music and sound
4 Legacy
5 Art techniques developed
5.1 Collage
5.2 Photomontage
5.3 Assemblage
5.4 Readymades
6 See also
7 References
7.1 Bibliography
8 External links
Overview[edit]
It 's too idiotic to be schizophrenic.
— Carl Jung on the Dada productions[4]
Dada was an informal international movement, with participants in Europe and North America. The beginnings of Dada correspond to the outbreak of World War I. For many participants, the movement was a protest against the bourgeois nationalist and colonialist interests, which many Dadaists believed were the root cause of the war, and against the cultural and intellectual conformity—in art and more broadly in society—that corresponded to the war.[5]

Hannah Höch, Cut with the Dada Kitchen Knife through the Last Weimar Beer-Belly Cultural Epoch in Germany, 1919, collage of pasted papers, 90×144 cm, Nationalgalerie, Staatliche Museen zu Berlin
Many Dadaists believed that the 'reason ' and 'logic ' of bourgeois capitalist society had led people into war. They expressed their rejection of that ideology in artistic expression that appeared to reject logic and embrace chaos and irrationality. For example, George Grosz later recalled that his Dadaist art was intended as a protest "against this world of mutual destruction."[6]
According to Hans Richter, Dada was not art, it was "anti-art."[5] Everything for which art stood, Dada represented the opposite. Where art was concerned with traditional aesthetics, Dada ignored aesthetics. If art was to appeal to sensibilities, Dada was intended to offend.
As Hugo Ball expressed it, "For us, art is not an end in itself ... but it is an opportunity for the true perception and criticism of the times we live in."[7]
A reviewer from the American Art News stated at the time that "Dada philosophy is the sickest, most paralyzing and most destructive thing that has ever originated from the brain of man." Art historians have described Dada as being, in large part, a "reaction to what many of these artists saw as nothing more than an insane spectacle of collective homicide."[8]
Years later, Dada artists described the movement as "a phenomenon bursting forth in the midst of the postwar economic and moral crisis, a savior, a monster, which would lay waste to everything in its path... [It was] a systematic work of destruction and demoralization... In the end it became nothing but an act of sacrilege."[8]
History[edit]
Zurich[edit]
In 1916, Hugo Ball, Emmy Hennings, Tristan Tzara, Jean Arp, Marcel Janco, Richard Huelsenbeck, Sophie Täuber, and Hans Richter, along with others, discussed art and put on performances in the Cabaret Voltaire expressing their disgust with the war and the interests that inspired it.
Some sources state that Dada coalesced on October 6 at the Cabaret Voltaire. Other sources state that Dada did not originate fully in a Zurich literary salon but grew out of an already vibrant artistic tradition in Eastern Europe, particularly Romania, that transposed to Switzerland when a group of Jewish modernist artists (Tzara, Marcel & Iuliu Iancu, Arthur Segal, and others) settled in Zurich. In the years prior to World War I similar art had already risen in Bucharest and other Eastern European cities; it is likely that DADA 's catalyst was the arrival in Zurich of artists like Tzara and Janco.[9]
Having left Germany and Romania during World War I, the artists found themselves in Switzerland, a country recognized for its neutrality.
Inside this space of political neutrality they decided to use abstraction to fight against the social, political, and cultural ideas of that time. The dadaists believed those ideas to be a byproduct of bourgeois society, a society so apathetic it would rather fight a war against itself than challenge the status quo.[10]
Marcel Janco recalled,
We had lost confidence in our culture. Everything had to be demolished. We would begin again after the tabula rasa. At the Cabaret Voltaire we began by shocking common sense, public opinion, education, institutions, museums, good taste, in short, the whole prevailing order.
The Cabaret closed its doors in early July and then at the first public soiree at Waag Hall[11] on July 14, 1916, Ball recited the first manifesto. In 1917, Tzara wrote a second Dada manifesto considered one of the most important Dada writings, which was published in 1918. Other manifestos followed.
A single issue of the magazine Cabaret Voltaire was the first publication to come out of the
movement.
After the cabaret closed down, activities moved to a new gallery and Hugo Ball left for Bern. Tzara began a relentless campaign to spread Dada ideas. He bombarded French and Italian artists and writers with letters, and soon emerged as the Dada leader and master strategist. The Cabaret Voltaire re-opened, and is still in the same place at the Spiegelgasse 1 in the Niederdorf.
Zurich Dada, with Tzara at the helm, published the art and literature review Dada beginning in July 1917, with five editions from Zurich and the final two from Paris.
When World War I ended in 1918, most of the Zurich Dadaists returned to their home countries, and some began Dada activities in other cities. Others, such as Swiss native Sophie Täuber, would remain in Zurich into the 1920s.
Berlin[edit]

Cover of Anna Blume, Dichtungen, 1919
"Berlin was a city of tightened stomachers, of mounting, thundering hunger, where hidden rage was transformed into a boundless money lust, and men’s minds were concentrating more and more on questions of naked existence... Fear was in everybody’s bones "- Richard Hülsenbeck
The groups in Germany were not as strongly anti-art as other groups. Their activity and art were more political and social, with corrosive manifestos and propaganda, satire, public demonstrations and overt political activities. It has been suggested that this is at least partially due to Berlin 's proximity to the front, and that for an opposite effect, New York 's geographic distance from the war spawned its more theoretically-driven, less political nature.[citation needed]
In February 1918, Huelsenbeck gave his first Dada speech in Berlin, and produced a Dada manifesto later in the year. Hannah Höch and George Grosz used Dada to express post-World War I communist sympathies. Grosz, together with John Heartfield, developed the technique of photomontage during this period. The artists published a series of short-lived political magazines, and held the First International Dada Fair, 'the greatest project yet conceived by the Berlin Dadaists ', in the summer of 1920.[12] As well as the main members of Berlin Dada, Grosz, Raoul Hausmann, Höch, Johannes Baader, Huelsenbeck and Heartfield, the exhibition also included work by Otto Dix, Francis Picabia, Jean Arp, Max Ernst, Rudolf Schlichter, Johannes Baargeld and others.[12] In all, over 200 works were exhibited, surrounded by incendiary slogans, some of which also ended up written on the walls of the Nazi 's Entartete Kunst exhibition in 1937. Despite high ticket prices, the exhibition lost money, with only one recorded sale.[13]
The Berlin group published periodicals such as Club Dada, Der Dada, Everyman His Own Football, and Dada Almanach.
Cologne[edit]
In Cologne, Ernst, Baargeld, and Arp launched a controversial Dada exhibition in 1920 which focused on nonsense and anti-bourgeois sentiments. Cologne 's Early Spring Exhibition was set up in a pub, and required that participants walk past urinals while being read lewd poetry by a woman in a communion dress. The police closed the exhibition on grounds of obscenity, but it was re-opened when the charges were dropped.[14]

Marcel Duchamp, Fountain, 1917. Photograph by Alfred Stieglitz
New York[edit]
Like Zurich, New York City was a refuge for writers and artists from World War I. Soon after arriving from France in 1915, Marcel Duchamp and Francis Picabia met American artist Man Ray. By 1916 the three of them became the center of radical anti-art activities in the United States. American Beatrice Wood, who had been studying in France, soon joined them, along with Elsa von Freytag-Loringhoven. Arthur Cravan, fleeing conscription in France, was also present for a time. Much of their activity centered in Alfred Stieglitz 's gallery, 291, and the home of Walter and Louise Arensberg.
The New Yorkers, though not particularly organized, called their activities Dada, but they did not issue manifestos. They issued challenges to art and culture through publications such as The Blind Man, Rongwrong, and New York Dada in which they criticized the traditionalist basis for museum art. New York Dada lacked the disillusionment of European Dada and was instead driven by a sense of irony and humor. In his book Adventures in the arts: informal chapters on painters, vaudeville and poets Marsden Hartley included an essay on "The Importance of Being 'Dada '".

Rrose Sélavy, the alter ego of famed Dadaist Marcel Duchamp.
During this time Duchamp began exhibiting "readymades" (everyday objects found or purchased and declared art) such as a bottle rack, and was active in the Society of Independent Artists. In 1917 he submitted the now famous Fountain, a urinal signed R. Mutt, to the Society of Independent Artists exhibition only to have the piece rejected. First an object of scorn within the arts community, the Fountain has since become almost canonized by some as one of the most recognizable modernist works of sculpture. The committee presiding over Britain 's prestigious Turner Prize in 2004, for example, called it "the most influential work of modern art."[15] As recent scholarship documents, the work is likely more collaborative than it has been given credit for in twentieth-century art history. Duchamp indicates in a 1917 letter to his sister that a female friend was centrally involved in the conception of this work. As he writes: "One of my female friends who had adopted the pseudonym Richard Mutt sent me a porcelain urinal as a sculpture."[16] The piece is more in line with the scatological aesthetics of Duchamp 's friend and neighbour, the Baroness Elsa von Freytag-Loringhoven, than Duchamp 's.[17] In an attempt to "pay homage to the spirit of Dada" a performance artist named Pierre Pinoncelli made a crack in The Fountain with a hammer in January 2006; he also urinated on it in 1993.
Picabia 's travels tied New York, Zurich and Paris groups together during the Dadaist period. For seven years he also published the Dada periodical 391 in Barcelona, New York City, Zurich, and Paris from 1917 through 1924.
By 1921, most of the original players moved to Paris where Dada experienced its last major incarnation (see Neo-Dada for later activity).
Paris[edit]
The French avant-garde kept abreast of Dada activities in Zurich with regular communications from Tristan Tzara (whose pseudonym means "sad in country," a name chosen to protest the treatment of Jews in his native Romania), who exchanged letters, poems, and magazines with Guillaume Apollinaire, André Breton, Max Jacob, Clément Pansaers, and other French writers, critics and artists.
Paris had arguably been the classical music capital of the world since the advent of musical Impressionism in the late 19th century. One of its practitioners, Erik Satie, collaborated with Picasso and Cocteau in a mad, scandalous ballet called Parade. First performed by the Ballets Russes in 1917, it succeeded in creating a scandal but in a different way than Stravinsky 's Le Sacre du Printemps had done almost five years earlier. This was a ballet that was clearly parodying itself, something traditional ballet patrons would obviously have serious issues with.
Dada in Paris surged in 1920 when many of the originators converged there. Inspired by Tzara, Paris Dada soon issued manifestos, organized demonstrations, staged performances and produced a number of journals (the final two editions of Dada, Le Cannibale, and Littérature featured Dada in several editions.)[18]
The first introduction of Dada artwork to the Parisian public was at the Salon des Indépendants in 1921. Jean Crotti exhibited works associated with Dada including a work entitled, Explicatif bearing the word Tabu. In the same year Tzara staged his Dadaist play The Gas Heart to howls of derision from the audience. When it was re-staged in 1923 in a more professional production, the play provoked a theatre riot (initiated by André Breton) that heralded the split within the movement that was to produce Surrealism. Tzara 's last attempt at a Dadaist drama was his "ironic tragedy" Handkerchief of Clouds in 1924.
Netherlands[edit]
In the Netherlands the Dada movement centered mainly around Theo van Doesburg, best known for establishing the De Stijl movement and magazine of the same name. Van Doesburg mainly focused on poetry, and included poems from many well-known Dada writers in De Stijl such as Hugo Ball, Hans Arp and Kurt Schwitters. Van Doesburg became a friend of Schwitters, and together they organized the so-called Dutch Dada campaign in 1923, where Van Doesburg promoted a leaflet about Dada (entitled What is Dada?), Schwitters read his poems, Vilmos Huszàr demonstrated a mechanical dancing doll and Nelly Van Doesburg (Theo 's wife), played avant-garde compositions on piano.
Van Doesburg wrote Dada poetry himself in De Stijl, although under a pseudonym, I.K. Bonset, which was only revealed after his death in 1931. 'Together ' with I.K. Bonset, he also published a short-lived Dutch Dada magazine called Mécano.
Georgia[edit]
Although Dada itself was unknown in Georgia until at least 1920, from 1917-1921 a group of poets called themselves "41st Degree" (referring both to the latitude of Tbilisi, Georgia and to the temperature of a high fever) organized along Dadaist lines. The most important figure in this group was Iliazd, whose radical typographical designs visually echo the publications of the Dadaists. After his flight to Paris in 1921, he collaborated with Dadaists on publications and events.
Yugoslavia[edit]
In Yugoslavia there was heavy Dada activity between 1920 and 1922 run mainly by Dragan Aleksić and including Mihailo S. Petrov, Zenitist 's two brothers Ljubomir Micić and Branko Ve Poljanski. Aleksić used the term "Yougo-Dada" and is known to have been in contact with Raoul Hausmann, Kurt Schwitters, and Tristan Tzara.[19]
Italy[edit]
The Dada movement in Italy, based in Mantova, was met with distaste and failed to make a significant impact in the art world.
They published a magazine for a short time and held an exhibit in Rome, featuring paintings, Tristan Tzara quotes, and original epigrams such as "True Dada is against Dada". The most notable member of this group was Julius Evola, who went on to become a preeminent occult scholar of the 20th century, as well as a right-wing philosopher and aide to Mussolini.[20]
Tokyo[edit]
A prominent Dada group in Japan was MAVO (JA), founded in July 1923 by Tomoyoshi Murayama and Masamu Yanase (DE, JA). Other prominent artists were Jun Tsuji, Eisuke Yoshiyuki, Shinkichi Takahashi (JA) and Katsue Kitasono.
Russia[edit]
The Russian literary group Nichevoki came close to the Dada ideologies. They became famous for proposing Vladimir Mayakovsky to go to the "Pampushka" (abbreviation for "pamyatnik pushkina", which means "Pushkin monument") at the "Tverbul" (abbreviation for "tverskoj bulvar", which means "Tverskoy Boulevard") and clean any desiring person 's shoes, when he declared that he would "clean Russian poetry".
Poetry; music and
sound[edit]
Dada was not confined to the visual and literary arts; its influence reached into sound and music. Kurt Schwitters developed what he called sound poems, while Francis Picabia and Georges Ribemont-Dessaignes composed Dada music performed at the Festival Dada in Paris on 26 May 1920. Other composers such as Erwin Schulhoff, Hans Heusser and Albert Savinio all wrote Dada music, while members of Les Six collaborated with members of the Dada movement and had their works performed at Dada gatherings. Erik Satie also dabbled with Dadaist ideas during his career, although he is primarily associated with musical Impressionism.
In the very first Dada publication, Hugo Ball describes a "balalaika orchestra playing delightful folk-songs." African music and jazz was common at Dada gatherings, signaling a return to nature and naive primitivism.[citation needed]
Legacy[edit]

The Janco Dada Museum, named after Marcel Janco, in Ein Hod, Israel
While broad, the movement was unstable. By 1924 in Paris, Dada was melding into surrealism, and artists had gone on to other ideas and movements, including surrealism, social realism and other forms of modernism. Some theorists argue that Dada was actually the beginning of postmodern art.[21]
By the dawn of World War II, many of the European Dadaists had emigrated to the United States. Some died in death camps under Adolf Hitler,[citation needed] who persecuted the kind of "Degenerate art" that Dada represented. The movement became less active as post-World War II optimism led to new movements in art and literature.
Dada is a named influence and reference of various anti-art and political and cultural movements including the Situationist International and culture jamming groups like the Cacophony Society. Upon breaking up in July 2012, famous anarchist pop band Chumbawamba issued a statement which compared their own legacy with that of the Dada art movement.[22]
At the same time that the Zurich Dadaists made noise and spectacle at the Cabaret Voltaire, Vladimir Lenin wrote his revolutionary plans for Russia in a nearby apartment. Tom Stoppard used this coincidence as a premise for his play Travesties (1974), which includes Tzara, Lenin, and James Joyce as characters. French writer Dominique Noguez imagined Lenin as a member of the Dada group in his tongue-in-cheek Lénine Dada (1989).
The Cabaret Voltaire fell into disrepair until it was occupied from January to March, 2002, by a group proclaiming themselves Neo-Dadaists, led by Mark Divo.[23] The group included Jan Thieler, Ingo Giezendanner, Aiana Calugar, Lennie Lee and Dan Jones. After their eviction the space became a museum dedicated to the history of Dada. The work of Lee and Jones remained on the walls of the museum.
Several notable retrospectives have examined the influence of Dada upon art and society. In 1967, a large Dada retrospective was held in Paris, France. In 2006, the Museum of Modern Art in New York City held a Dada exhibition in conjunction with the National Gallery of Art in Washington D.C. and the Centre Pompidou in Paris. The LTM label has released a large number of Dada-related sound recordings, including interviews with artists such as Tzara, Picabia, Schwitters, Arp and Huelsenbeck, and musical repertoire including Satie, Ribemont-Dessaignes, Picabia and Nelly van Doesburg.[24]
Art techniques developed[edit]
Collage[edit]
The Dadaists imitated the techniques developed during the cubist movement through the pasting of cut pieces of paper items, but extended their art to encompass items such as transportation tickets, maps, plastic wrappers, etc. to portray aspects of life, rather than representing objects viewed as still life.
Photomontage[edit]
The Dadaists – the "monteurs" (mechanics) – used scissors and glue rather than paintbrushes and paints to express their views of modern life through images presented by the media. A variation on the collage technique, photomontage utilized actual or reproductions of real photographs printed in the press. In Cologne, Max Ernst used images from World War I to illustrate messages of the destruction of war.[25]

Raoul Hausmann ABCD (Self-portrait) A photomontage from 1923-24
Assemblage[edit]
The assemblages were three-dimensional variations of the collage – the assembly of everyday objects to produce meaningful or meaningless (relative to the war) pieces of work including war objects and trash. Objects were nailed, screwed or fastened together in different fashions. Assemblages could be seen in the round or could be hung on a wall.[26]

Raoul Hausmann Mechanischer Kopf (Der Geist unserer Zeit) (Mechanical Head [The Spirit of Our Age]), c. 1920
Readymades[edit]
Marcel Duchamp began to view the manufactured objects of his collection as objects of art, which he called "readymades". He would add signatures and titles to some, converting them into artwork that he called "readymade aided" or "rectified readymades". Duchamp wrote: "One important characteristic was the short sentence which I occasionally inscribed on the 'readymade. ' That sentence, instead of describing the object like a title, was meant to carry the mind of the spectator towards other regions more verbal. Sometimes I would add a graphic detail of presentation which in order to satisfy my craving for alliterations, would be called 'readymade aided. '" [27] One such example of Duchamp 's readymade works is the urinal that was turned onto its back, signed "R. Mutt", titled "Fountain", and submitted to the Society of Independent Artists exhibition that year. The piece was not displayed during the show, a fact that unmasked the inherently biased system that was the art establishment, seeing as any artist that paid the entry fee could in theory display their art, but the work of R. Mutt was banished by the judgment of a group of artists.[10]
See also[edit]
Art intervention
Bonzo Dog Doo-Dah Band
The Central Council of Dada for the World Revolution
Épater la bourgeoisie
Futurism
Happening
References[edit]
1. Jump up ^ de Micheli, Mario(2006). Las vanguardias artísticas del siglo XX. Alianza Forma. p.135-137
2. Jump up ^ Budd, Dona, The Language of Art Knowledge, Pomegranate Communications, Inc.
3. Jump up ^ Marc Lowenthal, translator 's introduction to Francis Picabia 's I Am a Beautiful Monster: Poetry, Prose, And Provocation
4. Jump up ^ Melzer (1976, 55).
5. ^ Jump up to: a b Richter, Hans (1965), Dada: Art and Anti-art, New York and Toronto: Oxford Univ Press
6. Jump up ^ Schneede, Uwe M. (1979), George Grosz, His life and work, New York: Universe Books
7. Jump up ^ DADA: Cities, National Gallery of Art, retrieved 2008-10-19
8. ^ Jump up to: a b Fred S. Kleiner (2006), Gardner 's Art Through the Ages (12th ed.), Wadsworth Publishing, p. 754
9. Jump up ^ Tom Sandqvist, DADA EAST: The Romanians of Cabaret Voltaire, London MIT Press, 2006.
10. ^ Jump up to: a b "Introduction: "Everybody can Dada"". National Gallery of Art. Retrieved 10 May 2012.
11. Jump up ^ "Cabaret Voltaire". DADA Companion. Retrieved 2011-06-11.
12. ^ Jump up to: a b Dada, Dickermann, National Gallery of Art, Washington, 2006 p443
13. Jump up ^ Dada, Dickermann, National Gallery of Art, Washington, 2006 p99
14. Jump up ^ Schaefer, Robert A. (September 7, 2006), "Das Ist Dada–An Exhibition at the Museum of Modern Art in NYC", Double Exposure
15. Jump up ^ "Duchamp 's urinal tops art survey", BBC News December 1, 2004.
16. Jump up ^ Duchamp, Marcel trans. and qtd. in Gammel, Irene. Baroness Elsa: Gender, Dada and Everyday Modernity. Cambridge, MA: MIT Press, 2002, 224.
17. Jump up ^ Gammel, Baroness Elsa, 224-225.
18. Jump up ^ Marc Dachy, Dada, la révolte de l 'art, Paris, Gallimard / Centre Pompidou, "Découvertes" n° 476 , 2005.
19. Jump up ^ [1] Jovanov Jasna, Kujundžić Dragan, "Yougo-Dada"."Crisis and the Arts: The History of Dada", Vol. IV, The Eastern Orbit: Russia, Georgia, Ukraine, Central Europe and Japan, General Editor Stephen C. Foster, G.K. Hall& Comp. Publishers, New York 1998, 41 - 62; Jasna Jovanov,Demistifikacija apokrifa: dadaizam na jugoslovenskim prostorima 1920 - 1922, Novi Sad: Apokrif, 1999.
20. Jump up ^ Julius Evola - International Dada Archive
21. Jump up ^ Locher, David (1999), "Unacknowledged Roots and Blatant Imitation: Postmodernism and the Dada Movement", Electronic Journal of Sociology 4 (1), retrieved 2007-04-25
22. Jump up ^ "Chumbawamba". Retrieved 10 July 2012.
23. Jump up ^ 2002 occupation by neo-Dadaists Prague Post
24. Jump up ^ http://www.ltmrecordings.com/fdrcat.html
25. Jump up ^ "DADA - Techniques-photomontage". Nga.gov. Retrieved 2011-06-11.
26. Jump up ^ "DADA - Techniques -assemblage". Nga.gov. Retrieved 2011-06-11.
27. Jump up ^ "The Writings of Marcel Duchamp" ISBN 0-306-80341-0
Bibliography[edit]
The Dada Almanac, ed Richard Huelsenbeck [1920], re-edited and translated by Malcolm Green et al., Atlas Press, with texts by Hans Arp, Johannes Baader, Hugo Ball, Paul Citröen, Paul Dermée, Daimonides, Max Goth, John Heartfield, Raoul Hausmann, Richard Huelsenbeck, Vincente Huidobro, Mario D 'Arezzo, Adon Lacroix, Walter Mehring, Francis Picabia, Georges Ribemont-Dessaignes, Alexander Sesqui, Philippe Soupault, Tristan Tzara. ISBN 0-947757-62-7
Blago Bung, Blago Bung, Hugo Ball 's Tenderenda, Richard Huelsenbeck 's Fantastic Prayers, & Walter Serner 's Last Loosening - three key texts of Zurich ur-Dada. Translated and introduced by Malcolm Green. Atlas Press, ISBN 0-947757-86-4
Ball, Hugo. Flight Out Of Time (University of California Press: Berkeley and Los Angeles, 1996)
Biro, M. The Dada Cyborg: Visions of the New Human in Weimar Berlin. Minneapolis: University of Minnesota Press, 2009. ISBN 0-8166-3620-6
Dachy, Marc. Journal du mouvement Dada 1915-1923, Genève, Albert Skira, 1989 (Grand Prix du Livre d 'Art, 1990)
Dada & les dadaïsmes, Paris, Gallimard, Folio Essais, n° 257, 1994.
Jovanov, Jasna. Demistifikacija apokrifa: Dadaizam na jugoslovenskim prostorima, Novi Sad/Apostrof 1999.
Dada, la révolte de l 'art, Paris, Gallimard / Centre Pompidou, Découvertes n° 476, 2005.
Archives Dada / Chronique, Paris, Hazan, 2005.
Dada, catalogue d 'exposition, Centre Pompidou, 2005.
Durozoi, Gérard. Dada et les arts rebelles, Paris, Hazan, Guide des Arts, 2005
Gammel, Irene. Baroness Elsa: Gender, Dada and Everyday Modernity. Cambridge, MA: MIT Press, 2002.
Hoffman, Irene. Documents of Dada and Surrealism: Dada and Surrealist Journals in the Mary Reynolds Collection, Ryerson and Burnham Libraries, The Art Institute of Chicago.
Huelsenbeck, Richard. Memoirs of a Dada Drummer, (University of California Press: Berkeley and Los Angeles, 1991)
Jones, Dafydd. Dada Culture, NY and Amsterdam, Rodopi, 2006
Lavin, Maud. Cut With the Kitchen Knife: The Weimar Photomontages of Hannah Höch. New Haven: Yale University Press, 1993.
Lemoine, Serge. Dada, Paris, Hazan, coll. L 'Essentiel.
Lista, Giovanni. Dada libertin & libertaire, Paris, L 'insolite, 2005.
Melzer, Annabelle. 1976. Dada and Surrealist Performance. PAJ Books ser. Baltimore and London: The Johns Hopkins UP, 1994. ISBN 0-8018-4845-8.
Novero, Cecilia. "Antidiets of the Avant-Garde: From Futurist Cooking to Eat Art." (University of Minnesota Press, 2010)
Richter, Hans. Dada: Art and Anti-Art (London: Thames and Hudson, 1965)
Sanouillet, Michel. Dada à Paris, Paris, Jean-Jacques Pauvert, 1965, Flammarion, 1993, CNRS, 2005
Sanouillet, Michel. Dada in Paris, Cambridge, Massachusetts, The MIT Press, 2009
Schneede, Uwe M. George Grosz, His life and work (New York: Universe Books, 1979)
Verdier, Aurélie. L 'ABCdaire de Dada, Paris, Flammarion, 2005.
External links[edit]
Dada at the Open Directory Project
[2] - includes a good review of Dada by Encyclopaedia Britannica
Dada art - includes images showing the characteristics of Dada
The International Dada Archive - includes scans of publications
Dadart - includes history, bibliography, documents, and news
Dada magazine translated into English and remastered for the internet.
From Dada to surrealism review from The Guardian
Dada audio recordings at LTM
Manifestos
Text of Hugo Ball 's 1916 Dada Manifesto
Text of Tristan Tzara 's 1918 Dada Manifesto
Excerpts of Tristan Tzara 's Dada Manifesto (1918) and Lecture on Dada (1922)
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Symbolism
Hudson River School

20th century
Bengal School of Art
Amazonian pop art
Cubism
Orphism
Purism
Synchromism
Expressionism
Scuola Romana
Abstract expressionism
Kinetic art
Neue Künstlervereinigung München
Der Blaue Reiter
Die Brücke
New Objectivity
Dada
Fauvism
Neo-Fauvism
Precisionism
Art Nouveau
Bauhaus
De Stijl
Art Deco
Op art
Vienna School of Fantastic Realism
Pop art
Photorealism
Futurism
Metaphysical art
Rayonism
Vorticism
Suprematism
Surrealism
Color Field
Minimalism
Minimalism (visual arts)
Nouveau réalisme
Social realism
Lyrical abstraction
Tachisme
COBRA
Action painting
International Typographic Style
Fluxus
Lettrism
Letterist International
Situationist International
Conceptual art
Installation art
Land art
Performance art
Systems art
Video art
Neo-expressionism
Neo-Dada
Outsider art
Lowbrow
New media art
Young British Artists

21st century
Art intervention
Hyperrealism
Metamodernism
Stuckism International
Remodernism
Pseudorealism
Sound art
Superstroke
Superflat
SoFlo Superflat
Relational art
Video game art

Related articles
List of art movements
Modern art
Modernism
Late modernism
Postmodern art
Avant-garde

[show] v t e Modernism

Milestones
Le déjeuner sur l 'herbe (1862-63)
Olympia (1863)
A Sunday Afternoon on the Island of La Grande Jatte (1886)
The Starry Night (1889)
Hunger (1890)
Ubu Roi (1896)
Le bonheur de vivre (1906)
Les Demoiselles d 'Avignon (1907)
The Firebird (1910)
Afternoon of a Faun (1912)
Nude Descending a Staircase, No. 2 (1912)
In Search of Lost Time (1913–1927)
The Metamorphosis (1915)
Fountain (1917)
The Cabinet of Dr. Caligari (1920)
Six Characters in Search of an Author (1921)
Ulysses (1922)
The Waste Land (1922)
The Magic Mountain (1924)
Battleship Potemkin (1925)
The Sun Also Rises (1926)
The Threepenny Opera (1928)
Berlin Alexanderplatz (1929)
Man with a Movie Camera (1929)
Un Chien Andalou (1929)
The Man Without Qualities (1930)
Fallingwater (1936)
The Cantos (1915–1969)

Literature
Guillaume Apollinaire
Djuna Barnes
Tadeusz Borowski
André Breton
Hermann Broch
Mikhail Bulgakov
Ivan Cankar
Joseph Conrad
E. M. Forster
Alfred Döblin
William Faulkner
André Gide
Knut Hamsun
Jaroslav Hašek
Ernest Hemingway
Hermann Hesse
James Joyce
Franz Kafka
D. H. Lawrence
Primo Levi
Wyndham Lewis
Thomas Mann
Filippo Tommaso Marinetti
Robert Musil
Oulipo
Katherine Anne Porter
Marcel Proust
Antoine de Saint-Exupéry
Gertrude Stein
Italo Svevo
Dorothy Richardson
Oscar Wilde
Virginia Woolf

Poetry
Anna Akhmatova
W. H. Auden
Charles Baudelaire
Luca Caragiale
Constantine P. Cavafy
Aimé Césaire
Hart Crane
H.D.
Robert Desnos
T. S. Eliot
Paul Éluard
Stefan George
Max Jacob
Federico García Lorca
Amy Lowell
Mina Loy
Stéphane Mallarmé
Ion Minulescu
Marianne Moore
Fernando Pessoa
Pablo Picasso
Ezra Pound
Rainer Maria Rilke
Arthur Rimbaud
Wallace Stevens
Alfonsina Storni
Dylan Thomas
Tristan Tzara
Paul Valéry
William Carlos Williams
W. B. Yeats

Visual Art
Josef Albers
Alexander Archipenko
Jean Arp
Giacomo Balla
Balthus
George Bellows
Umberto Boccioni
Pierre Bonnard
Antoine Bourdelle
Georges Braque
Constantin Brâncuși
Alexander Calder
Anthony Caro
Mary Cassatt
Paul Cézanne
Marc Chagall
Giorgio de Chirico
Camille Claudel
Joseph Cornell
Joseph Csaky
Salvador Dalí
Stuart Davis
Edgar Degas
Willem de Kooning
Robert Delaunay
André Derain
Otto Dix
Marcel Duchamp
Raoul Dufy
James Ensor
Jacob Epstein
Max Ernst
Henri Le Fauconnier
Lyonel Feininger
Lucio Fontana
Paul Gauguin
Alberto Giacometti
Albert Gleizes
Vincent van Gogh
Arshile Gorky
Juan Gris
George Grosz
Hannah Höch
Hans Hofmann
Edward Hopper
Alexej von Jawlensky
Jasper Johns
Frida Kahlo
Wassily Kandinsky
Ernst Ludwig Kirchner
Paul Klee
Käthe Kollwitz
Oskar Kokoschka
Alfred Kubin
František Kupka
Fernand Léger
El Lissitzky
René Magritte
Kazimir Malevich
Édouard Manet
André Masson
Henri Matisse
Jean Metzinger
Joan Miró
Amedeo Modigliani
László Moholy-Nagy
Piet Mondrian
Claude Monet
Henry Moore
Giorgio Morandi
Gustave Moreau
Berthe Morisot
Barnett Newman
Isamu Noguchi
Emil Nolde
Georgia O 'Keeffe
Méret Oppenheim
Francis Picabia
Pablo Picasso
Camille Pissarro
Jackson Pollock
Maurice Prendergast
Robert Rauschenberg
Man Ray
Odilon Redon
Oubapo
Pierre-Auguste Renoir
Diego Rivera
Alexander Rodchenko
Mark Rothko
Henri Rousseau
August Sander
Christian Schad
Egon Schiele
Oskar Schlemmer
Kurt Schwitters
Georges Seurat
Gino Severini
Alfred Sisley
David Smith
Edward Steichen
Frank Stella
Alfred Stieglitz
Clyfford Still
Henri de Toulouse-Lautrec
Édouard Vuillard
Andy Warhol
Max Weber
Weegee
Grant Wood
Andrew Wyeth

Music
George Antheil
Milton Babbitt
Jean Barraqué
Béla Bartók
Alban Berg
Luciano Berio
Pierre Boulez
John Cage
Aaron Copland
Henry Cowell
Claude Debussy
Henri Dutilleux
Morton Feldman
Lou Harrison
Paul Hindemith
Arthur Honegger
Charles Ives
Leoš Janáček
György Ligeti
Gustav Mahler
Luigi Nono
Arvo Pärt
Harry Partch
Sergei Prokofiev
Luigi Russolo
Erik Satie
Pierre Schaeffer
Arnold Schoenberg
Dmitri Shostakovich
Jean Sibelius
Karlheinz Stockhausen
Richard Strauss
Igor Stravinsky
Edgard Varèse
Anton Webern
Kurt Weill
Iannis Xenakis

Theatre
Edward Albee
Maxwell Anderson
Jean Anouilh
Antonin Artaud
Samuel Beckett
Bertolt Brecht
Anton Chekhov
Friedrich Dürrenmatt
Jean Genet
Susan Glaspell
Maxim Gorky
Henrik Ibsen
William Inge
Eugène Ionesco
Alfred Jarry
Maurice Maeterlinck
Arthur Miller
Seán O 'Casey
Eugene O 'Neill
John Osborne
Luigi Pirandello
Erwin Piscator
Romain Rolland
George Bernard Shaw
August Strindberg
John Millington Synge
Frank Wedekind
Thornton Wilder
Tennessee Williams
Stanisław Ignacy Witkiewicz

Film
Ingmar Bergman
Anton Giulio Bragaglia
Luis Buñuel
Marcel Carné
Charles Chaplin
René Clair
Jean Cocteau
Maya Deren
Alexander Dovzhenko
Carl Theodor Dreyer
Germaine Dulac
Viking Eggeling
Sergei Eisenstein
Jean Epstein
Jacques Feyder
Robert Flaherty
Abel Gance
Buster Keaton
Lev Kuleshov
Fritz Lang
Marcel L 'Herbier
Georges Méliès
F. W. Murnau
Georg Wilhelm Pabst
Michael Powell
Vsevolod Pudovkin
Jean Renoir
Hans Richter
Walter Ruttmann
Victor Sjöström
Josef von Sternberg
Dziga Vertov
Jean Vigo
Orson Welles
Robert Wiene

Dance
George Balanchine
Merce Cunningham
Sergei Diaghilev
Isadora Duncan
Martha Graham
Hanya Holm
Doris Humphrey
Léonide Massine
Vaslav Nijinsky
Alwin Nikolais
Ted Shawn
Anna Sokolow
Ruth St. Denis
Helen Tamiris
Charles Weidman
Mary Wigman

Architecture
Alvar Aalto
Marcel Breuer
Gordon Bunshaft
Charles and Ray Eames
Antoni Gaudí
Walter Gropius
Hector Guimard
Raymond Hood
Victor Horta
Philip Johnson
Louis Kahn
Fazlur Khan
Le Corbusier
Adolf Loos
Konstantin Melnikov
Erich Mendelsohn
Pier Luigi Nervi
Richard Neutra
Oscar Niemeyer
Hans Poelzig
Gerrit Rietveld
Eero Saarinen
Rudolf Steiner
Edward Durell Stone
Louis Sullivan
Vladimir Tatlin
Paul Troost
Jørn Utzon
William Van Alen
Ludwig Mies van der Rohe
Frank Lloyd Wright
Minoru Yamasaki

Related articles
Abstract expressionism
American modernism
Armory Show
Art Deco
Art Nouveau
Ashcan School
Avant-garde
Bauhaus
Color Field
Constructivism
Cubism
Dada
De Stijl
Der Blaue Reiter
Die Brücke
Electronic music
Experimental film
Experimental music
Expressionism
Expressionist music
Fauvism
Fluxus
Fourth dimension in art
Fourth dimension in literature
Futurism
Futurism (music)
Generación del 27
Impressionism
Impressionist cinema
International Style
History
Kallol
Late modernism
Late modernity
Lettrism
List of art movements
List of avant-garde artists
List of modernist poets
Lyrical Abstraction
Minimalism
Minimalism (visual arts)
Modern art
Modernity
Neo-Dada
Neo-primitivism
New Objectivity
Orphism
Poetry in English
Post-Impressionism
Postminimalism
Postmodern art
Postmodernism
Reactionary modernism
Remodernism
Romanticism
Second Viennese School
Structural film
Surrealism
Symbolism
Synchromism
Tonalism

[show] v t e Avant-garde movements

Visual art
Abstract expressionism
Art Nouveau
Conceptual art
Cubism
Proto-Cubism
Cubo-Futurism
De Stijl
Devětsil
Divisionism
Ego-Futurism
Fauvism
Impressionism
Neo-Impressionism
Post-Impressionism
Color Field
Incoherents
Lyrical Abstraction
Minimalism
Mail art
Neue Slowenische Kunst
Nonconformism
Pop art
Rayonism
Suprematism
Vorticism
Nouveau réalisme

Music
Aleatoric music
Ars subtilior
Atonal music
Avant-garde jazz
Drone music
Electroacoustic music
Electronic music
Experimental metal
Experimental rock
Free jazz
Futurism (music)
Industrial music
Krautrock
Microtonal music
Minimal music
Musique concrète
New Complexity
No wave
Noise music
Post-rock
Progressive rock
Rock in Opposition
Second Viennese School
Serialism
Spectral music
Stochastic music
Textural music
Totalism
Twelve-tone technique

Literature and poetry
Acmeist poetry
Angry Penguins
Asemic writing
Cyberpunk
Experimental literature
Flarf poetry
Hungry generation
Imaginism
Language poets
Neoteric
Oberiu
Oulipo
Ultraísmo
Visual poetry
Nouveau roman

Cinema and theatre
Cinéma pur
Dogme 95
Drop Art
Epic theatre
Remodernist film
Theatre of the Absurd
Theatre of Cruelty

General
Bauhaus
Dada
Expressionism
Fluxus
Futurism
Lettrism
Modernism
Minimalism
Postminimalism
Neo-minimalism
Neo-Dada
Neoism
Postmodernism
Primitivism
Russian Futurism
Russian symbolism
Situationist International
Social realism
Socialist realism
Surrealism
Symbolism

Book

[show] v t e Schools of poetry

Akhmatova 's Orphans
Auden Group
The Beats
Black Arts Movement
Black Mountain poets
British Poetry Revival
Cairo poets
Castalian Band
Cavalier poets
Chhayavaad
Churchyard poets
Confessionalists
Créolité
Cyclic Poets
Dada
Deep image
Della Cruscans
Dolce Stil Novo
Dymock poets
Ecopoetry
The poets of Elan
Flarf
Fugitives
Garip
Gay Saber
Generation of '98
Generation of '27
Georgian poets
Goliard
The Group
Harlem Renaissance
Harvard Aesthetes
Hungry generation
Imagism
Informationist poetry
Jindyworobak
Lake Poets
Language poets
Martian poetry
Metaphysical poets
Misty Poets
Modernist poetry
The Movement
Négritude
New American Poetry
New Apocalyptics
New Formalism
New York School
Objectivists
Others
Parnassian poets
La Pléiade
Rhymers ' Club
San Francisco Renaissance
Scottish Renaissance
Sicilian School
Sons of Ben
Southern Agrarians
Spasmodic poets
Sung poetry
Surrealism
Symbolism
Uranian poetry

[show] v t e German literature

Related articles
German language
History of Germany
Medieval German literature
Sturm und Drang
Weimar Classicism
Romanticism
Literary realism
Weimar culture
Exilliteratur
German studies

Medieval literature
Dietmar von Aist
Reinmar von Hagenau
Hartmann von Aue
Walther von der Vogelweide
Wolfram von Eschenbach
Albrecht von Johansdorf
Heinrich von Morungen
Nibelungenlied
Gottfried von Strassburg

Early modern literature
Simon Dach
Paul Fleming
Hans Jakob Christoffel von Grimmelshausen
Andreas Gryphius
Christian Hoffmann von Hoffmannswaldau
Johann Michael Moscherosch
Martin Opitz
Hans Sachs
Angelus Silesius
Anthony Ulrich, Duke of Brunswick-Wolfenbüttel
Georg Wickram

18th century
Barthold Heinrich Brockes
Christian Gellert
Johann Wolfgang von Goethe
Johann Christoph Gottsched
Johann Christian Günther
Friedrich Hölderlin
Friedrich Gottlieb Klopstock
Jakob Michael Reinhold Lenz
Gotthold Ephraim Lessing
Novalis (Friedrich von Hardenberg)
Jean Paul
Friedrich Schiller
Johann Gottfried Schnabel
Christoph Martin Wieland

19th century
Bettina von Arnim
Ludwig Achim von Arnim
Clemens Brentano
Georg Büchner
Adelbert von Chamisso
Annette von Droste-Hülshoff
Marie von Ebner-Eschenbach
Joseph von Eichendorff
Theodor Fontane
Gustav Freytag
Jeremias Gotthelf
Franz Grillparzer
Jacob Grimm
Wilhelm Grimm
Gerhart Hauptmann
Christian Friedrich Hebbel
Johann Peter Hebel
Heinrich Heine
Georg Herwegh
Paul Heyse
E. T. A. Hoffmann
Friedrich Hölderlin
Gottfried Keller
Heinrich von Kleist
Nikolaus Lenau
Conrad Ferdinand Meyer
Eduard Mörike
Johann Nestroy
Wilhelm Raabe
Adalbert Stifter
Theodor Storm
Ludwig Tieck
Ludwig Uhland

20th century
Ingeborg Bachmann
Hermann Bahr
Johannes R. Becher
Gottfried Benn
Thomas Bernhard
Heinrich Böll
Volker Braun
Bertolt Brecht
Hermann Broch
Arnolt Bronnen
Hermann Burger
Elias Canetti
Paul Celan
Alfred Döblin
Heimito von Doderer
Friedrich Dürrenmatt
Lion Feuchtwanger
Marieluise Fleißer
Erich Fried
Max Frisch
Stefan George
Rainald Goetz
Marlen Haushofer
Hermann Hesse
Georg Heym
Hugo von Hofmannsthal
Ricarda Huch
Peter Huchel
Uwe Johnson
Ernst Jünger
Franz Kafka
Erich Kästner
Irmgard Keun
Sarah Kirsch
Karl Kraus
Else Lasker-Schüler
Heinrich Mann
Klaus Mann
Thomas Mann
Christian Morgenstern
Erich Mühsam
Heiner Müller
Adolf Muschg
Robert Musil
Erich Maria Remarque
Rainer Maria Rilke
Joseph Roth
Nelly Sachs
Ernst von Salomon
Paul Scheerbart
Arthur Schnitzler
Kurt Schwitters
W. G. Sebald
Anna Seghers
Ernst Toller
Georg Trakl
Kurt Tucholsky
Robert Walser
Josef Weinheber
Peter Weiss
Christa Wolf
Stefan Zweig

Contemporary writers
Zsuzsa Bánk
Thomas Brussig
Günter Grass
Durs Grünbein
Peter Handke
Elfriede Jelinek
Wladimir Kaminer
Alexander Kluge
Christian Kracht
Siegfried Lenz
Monika Maron
Terézia Mora
Herta Müller
Emine Sevgi Özdamar
Rafik Schami
Botho Strauß
Yoko Tawada
Uwe Timm
Martin Walser
Peter Wawerzinek
Wolf Wondratschek
Feridun Zaimoğlu

Nobel laureates who wrote in German
Theodor Mommsen
Rudolf Christoph Eucken
Paul Heyse
Gerhart Hauptmann
Carl Spitteler
Thomas Mann
Nelly Sachs
Heinrich Böll
Elias Canetti
Günter Grass
Elfriede Jelinek
Herta Müller

German language literary awards
Ingeborg Bachmann Prize
Georg Büchner Prize
Sigmund Freud Prize
Adelbert von Chamisso Prize
Hans Fallada Prize
Goethe Prize
Heinrich Heine Prize
Kleist Prize
Leipzig Book Fair Prize
Nelly Sachs Prize

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