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The Dada seminars / [edited by] Leah Dickerman with Matthew S. Witkovsky. Washington, DC : Center for Advanced Study in the Visual Arts, National Gallery of Art, in association with D.A.P./Distributed Art Publishers, c2005. http://hdl.handle.net/2027/mdp.39015061009109 Public Domain, Google-digitized http://www.hathitrust.org/access_use#pd-google We have determined this work to be in the public domain, meaning that it is not subject to copyright. Users are free to copy, use, and redistribute the work in part or in whole. It is possible that current copyright holders, heirs or the estate of the authors of individual portions of the work, such as illustrations or photographs, assert copyrights over these portions. Depending on the nature of subsequent use that is made, additional rights may need to be obtained independently of anything we can address. The digital images and OCR of this work were produced by Google, Inc. (indicated by a watermark on each page in the PageTurner). Google requests that the images and OCR not be re-hosted, redistributed or used commercially. The images are provided for educational, scholarly, non-commercial purposes. Generated for member (Columbia University) on 2015-04-03 01:26 GMT / http://hdl.handle.net/2027/mdp.39015061009109 Public Domain, Google-digitized / http://www.hathitrust.org/access_use#pd-google Generated for member (Columbia University) on 2015-04-03 01:26 GMT / http://hdl.handle.net/2027/mdp.39015061009109 Public Domain, Google-digitized / http://www.hathitrust.org/access_use#pd-google V J V\ \ Generated for member (Columbia University) on 2015-04-03 01:26 GMT / http://hdl.handle.net/2027/mdp.39015061009109 Public Domain, Google-digitized / http://www.hathitrust.org/access_use#pd-google Generated for member (Columbia University) on 2015-04-03 01:26 GMT / http://hdl.handle.net/2027/mdp.39015061009109 Public Domain, Google-digitized / http://www.hathitrust.org/access_use#pd-google Generated for member (Columbia University) on 2015-04-03 01:26 GMT / http://hdl.handle.net/2027/mdp.39015061009109 Public Domain, Google-digitized / http://www.hathitrust.org/access_use#pd-google The Dada Seminars Generated for member (Columbia University) on 2015-04-03 01:26 GMT / http://hdl.handle.net/2027/mdp.39015061009109 Public Domain, Google-digitized / http://www.hathitrust.org/access_use#pd-google mm v^..4| j S - ^^^f^j rf J T ;l Is ' ] B .".* ^^^^ iW / y^H j *5 " ^B r 1 ^^^^^^^^-^J Be isf Munst tot lebe die jgs neue TiTLIJIS Generated for member (Columbia University) on 2015-04-03 01:26 GMT / http://hdl.handle.net/2027/mdp.39015061009109 Public Domain, Google-digitized / http://www.hathitrust.org/access_use#pd-google The Dada Seminars Edited by Leah Dickerman with Matthew S. Witkovsky casva Seminar Papers I Center for Advanced Study in the Visual Arts Published by the National Gallery of Art, Washington, in association with d.a. p.l Distributed Art Publishers, Inc. Generated for member (Columbia University) on 2015-04-03 01:26 GMT / http://hdl.handle.net/2027/mdp.39015061009109 Public Domain, Google-digitized / http://www.hathitrust.org/access_use#pd-google & Copyright © 2005 Board of Trustees, Library of Congress Cataloging-in- National Gallery of Art, Washington. All Publication Data right reserved. This book may not be The Dada seminars / [edited by] reproduced, in whole or in part (beyond Leah Dickerman with that copying permitted by Sections 107 Matthew S. Witkovsky. and 108of the U.S. Copyright Law, and p. cm. — (Seminar papers ; 1) except by reviewers from the public Includes bibliographical references. press), without written permission from Includes bibliographical references the publishers. and index. isbn 1-933045-14-0 Produced by the Center for Advanced 1. Dadaism — Congresses. I. Dickerman, Study in the Visual Arts and the Leah, 1964- II. Witkovsky, Matthew S., Publishing Office, National Gallery 1967- III. Title. IV. Series: Seminar papers of Art, Washington (Center for Advanced Study in the Visual www.nga.gov Arts (U.S.) ; 1. Judy Metro, Editorin Chief NX456.5.D3D34 2005 Ulrikc Mills, Editor — 709'.04'o62 dc22 Margaret Bauer, DesignManager Chris Vogel, ProductionManager 2005001643 Cover and jacket designed by Margaret back cover: Opening of Max Ernst Bauer; book template designed by exhibition at Au Sans Pareil, Paris; from Wendy Schleicher Smith; layout and left: René Hilsum, Benjamin Perec, Serge design by Inglis Design, Galesville, Charchoune, Philippe Soupault (with Maryland; typeset in Quadraat by Duke bicycle), Jacques Rigault (upside down), & Company, Devon, Pennsylvania; and Andre Breton, 1921,Bibliotheque printed by Editoriale Bortolazzi Stei Litteraire Jacques Doucet, Paris S.R.L., Verona, Italy. title page: From left, George Grosz CopublishedbyD.A.P./ and John Heartfleld, illustration in Distributed Art Publishers, Inc. Richard Huelsenbeck, ed., DadoAlmanach Avenue of the Americas, Second Floor (Berlin, 1920) New York, N.Y. 10013-1507 un0u1.artbook.com ENDSHEETS, HaRDCOVER: From left, Hans Arp, Tristan Tzara, and Hans Richter in Zurich, 1918,Fondation Arp, Clamart-Meudon Generated for member (Columbia University) on 2015-04-03 01:26 GMT / http://hdl.handle.net/2027/mdp.39015061009109 Public Domain, Google-digitized / http://www.hathitrust.org/access_use#pd-google Contents vii Preface 151 New York Dada: Elizabeth Cropper Beyond the Readymade Amelia Jones 1 Introduction Leah Dickerman 173 Rrose Selavy Goes Shopping 7 Zurich Dada: Helen Malesurarth The Aesthetics of Exile Demos T.J. 191 Keep Smiling George Baker 31 Bad Dada (Evola) Jeffrey T. Schnapp 221 Dada's Diagrams Davidjoselit 57 The Real Demolished by Trenchant Objectivity: 241 The "Confrontation of Carl Einstein and the Modern Values": A Moral Critical World View of History of Dada in Paris Dada and "Verism" Arnauld Pierre Uu/e Fleckner 269 Pen Pals 83 Raoul Hausmann's Matthew S. Witkovsky Optophone: "Universal Language" and the 295 Contributors Intermedia Marce lla Lista 299 Index 103 Men and Memory: 311 Photographic Credits On Kurt Schwitters Leah Dickerman 127 A Bashed Ego: Max Ernst in Cologne Hal Foster Generated for member (Columbia University) on 2015-04-03 01:26 GMT / http://hdl.handle.net/2027/mdp.39015061009109 Public Domain, Google-digitized / http://www.hathitrust.org/access_use#pd-google Generated for member (Columbia University) on 2015-04-03 01:26 GMT / http://hdl.handle.net/2027/mdp.39015061009109 Public Domain, Google-digitized / http://www.hathitrust.org/access_use#pd-google Preface This volume inaugurates a new series of publications by the Center for Advanced Study in the Visual Arts (casva) at the National Gallery ofArt: the Seminar Papers. Over the first twenty-five years of the Center's existence an active publication program has focused pri marily on gathering papers from scholarly symposia in the series Studies in the History of Art. Our smaller meetings, by contrast, have generally relied on the freedom that comes from informal discussions not recorded in any permanent way. To mark a new beginning at casva as we enter the new century, we are fortunate to be in a position to explore opportunities for different kinds of meetings and publications. The concept of inviting a group of scholars to Washington, D.C., to discuss a topic in several seminars over the course of a year or so with drafts of papers exchanged along the way, leading to a publi cation that incorporates the results of debate, seems a highly appropriate and promising means to develop our contribution to international scholarship. This program has the added benefit of giving some of the critical discussions that take place at the Center a wider dissemination and a longer life. The Dada Seminars represents the exchange of papers and discussion that took place at the Center in three seminars between November 2001 and May 2003. The semi nars were led by Leah Dickerman, associate curator of modern and contemporary art at the National Gallery, and a former David E. Finley Fellow at casva. In this first instance we responded to Dickerman's proposal for a major Dada exhibition to be held at the Na tional Gallery of Art, in collaboration with the Centre Pompidou, Paris, and The Museum of Modern Art, New York. We are indebted to Leah Dickerman for her commitment to the project, which involved the selection of contributors, the organization of the topics for discussion, and her eventual editing of the volume, for which she recruited the invaluable support ofMatthew S. Witkovsky, assistant curator ofphotographs at the National Gallery. Dickerman's introduction to The Dada Seminars provides a full account of the genesis of this volume and ofthe thinking behind it. We are delighted to have participated in a unique opportunity to examine the issues before an exhibition takes place, and to present a volume of essays that will complement the exhibition catalogue while remaining quite independ ent of it. Future volumes in the casva Seminar Papers may come about in a similar way, but they may be unrelated to exhibitions and instead take up questions in the history of Generated for member (Columbia University) on 2015-04-03 01:26 GMT / http://hdl.handle.net/2027/mdp.39015061009109 Public Domain, Google-digitized / http://www.hathitrust.org/access_use#pd-google art around which significant debate is developing. The Center looks forward to collabo rating with scholars both inside and outside the National Gallery ofArt in the creation of such seminars. The Dada Seminars were supported by the Center's International Exhibitions Foundation Endowment Fund, and the publication of the volume by the Paul Mellon Fund. ELIZABETH CROPPER Dean, Centerfor Advanced Study in the Visual Arts Generated for member (Columbia University) on 2015-04-03 01:26 GMT / http://hdl.handle.net/2027/mdp.39015061009109 Public Domain, Google-digitized / http://www.hathitrust.org/access_use#pd-google Introduction I Leah Dickerman Though there is much consensus about the formative impact Dada has had on postwar artistic practice, in many ways it remains little known.
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    Decorative Painting and Politics in France, 1890-1914 by Katherine D. Brion A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (History of Art) in the University of Michigan 2014 Doctoral Committee: Professor Howard Lay, Chair Professor Joshua Cole Professor Michèle Hannoosh Professor Susan Siegfried © Katherine D. Brion 2014 ACKNOWLEDGEMENTS I will begin by thanking Howard Lay, who was instrumental in shaping the direction and final form of this dissertation. His unbroken calm and good-humor, even in the face of my tendency to take up new ideas and projects before finishing with the old, was of huge benefit to me, especially in the final stages—as were his careful and generous (re)readings of the text. Susan Siegfried and Michèle Hannoosh were also early mentors, first offering inspiring coursework and then, as committee members, advice and comments at key stages. Their feedback was such that I always wished I had solicited more, along with Michèle’s tea. Josh Cole’s seminar gave me a window not only into nineteenth-century France but also into the practice of history, and his kind yet rigorous comments on the dissertation are a model I hope to emulate. Betsy Sears has also been an important source of advice and encouragement. The research and writing of this dissertation was funded by fellowships and grants from the Georges Lurcy Foundation, the Rackham Graduate School at the University of Michigan, the Mellon Foundation, and the Getty Research Institute, as well as a Susan Lipschutz Award. My research was also made possible by the staffs at the Bibliothèque nationale de France, the Institut nationale d’Histoire de l’Art, the Getty Research Library, the Musée des arts décoratifs/Musée de la Publicité, and the Musée Maurice Denis, ii among other institutions.
  • Raoul Hausmann and Berlin Dada Studies in the Fine Arts: the Avant-Garde, No

    Raoul Hausmann and Berlin Dada Studies in the Fine Arts: the Avant-Garde, No

    NUNC COCNOSCO EX PARTE THOMAS J BATA LIBRARY TRENT UNIVERSITY Digitized by the Internet Archive in 2019 with funding from Kahle/Austin Foundation https://archive.org/details/raoulhausmannberOOOObens Raoul Hausmann and Berlin Dada Studies in the Fine Arts: The Avant-Garde, No. 55 Stephen C. Foster, Series Editor Associate Professor of Art History University of Iowa Other Titles in This Series No. 47 Artwords: Discourse on the 60s and 70s Jeanne Siegel No. 48 Dadaj Dimensions Stephen C. Foster, ed. No. 49 Arthur Dove: Nature as Symbol Sherrye Cohn No. 50 The New Generation and Artistic Modernism in the Ukraine Myroslava M. Mudrak No. 51 Gypsies and Other Bohemians: The Myth of the Artist in Nineteenth- Century France Marilyn R. Brown No. 52 Emil Nolde and German Expressionism: A Prophet in His Own Land William S. Bradley No. 53 The Skyscraper in American Art, 1890-1931 Merrill Schleier No. 54 Andy Warhol’s Art and Films Patrick S. Smith Raoul Hausmann and Berlin Dada by Timothy O. Benson T TA /f T Research U'lVlT Press Ann Arbor, Michigan \ u » V-*** \ C\ Xv»;s 7 ; Copyright © 1987, 1986 Timothy O. Benson All rights reserved Produced and distributed by UMI Research Press an imprint of University Microfilms, Inc. Ann Arbor, Michigan 48106 Library of Congress Cataloging in Publication Data Benson, Timothy O., 1950- Raoul Hausmann and Berlin Dada. (Studies in the fine arts. The Avant-garde ; no. 55) Revision of author’s thesis (Ph D.)— University of Iowa, 1985. Bibliography: p. Includes index. I. Hausmann, Raoul, 1886-1971—Aesthetics. 2. Hausmann, Raoul, 1886-1971—Political and social views.