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Art inTime

A World of Styles and Movements The Information Age: The Space Age: The World at War: Twenty-first to Late Twentieth Century Mid-Twentieth Century Early Twentieth Century

Preface 9 Internet 13 Institutional Critique 53 St Ives School 125 15 Mono-ha 55 127 Glossary 353 Young British 17 Body Art 57 Harlem 129 Index 361 Abject Art 19 Arte Povera 59 Socialist 131 Image Credits 365 ’85 New Wave 21 Post- 61 Group f/64 133 Cuban Renaissance 23 Conceptualismo 63 Chinese Woodblock Movement 135 Contemporary Aboriginal Art 25 65 Art 137 Neo-Geo 27 Minimalism 67 139 29 Computer Art 71 Santiniketan 141 Düsseldorf School 31 73 Neue Sachlichkeit 143 Neo- 33 Postcolonial 75 Mexican Renaissance 145 School of London 35 77 New Movement 149 New Topographics 37 81 151 39 83 155 43 Bay Area Funk 85 157 Art 47 Viennese Actionism 87 159 Nouveau Réalisme 89 161 Neo-Dada 91 163 Guohua 93 165 Progressive Artists Group 95 167 Neo-Concretism 97 169 99 Pittura Metafisica 171 Assemblage 101 Bloomsbury Group 173 Jikken Kōbō 103 175 Colour Field 105 177 107 Die Brücke 179 Gutai 111 181 113 Photo- 185 Arte Madí 115 187 Cobra 117 Secession 189 Art Brut 119 191

The : The : The Age of Discovery: The Renaissance: The Medieval World: The Classical Age: Nineteenth Century Eighteenth Century Seventeenth Century Sixteenth to Fourteenth Centuries Thirteenth to Fourth Century Third Century AD to Fifth Century BC

Nabis 197 Neo- 247 Rinpa School 271 Counter-Reformation 295 Gothic 319 Roman Painting 341 Yōga Painting 199 Company Painting 249 Deccani Painting 273 Kanō School 297 Romanesque 321 Hellenistic 343 Nihonga Painting 201 Picturesque 251 Tosa School 275 299 Monumental 323 Classical 345 Les Vingt 203 Grand Manner 253 Qing Orthodoxy 277 Venetian School 301 Literati Painting 325 Nomad Art 349 205 Rajasthani Painting 255 Dutch Golden Age 279 Zhe School 303 Academic Painting 327 207 Pahari Painting 257 Spanish Golden Age 281 Northern Renaissance 305 Ottonian 329 Post- 209 Ukiyo-e 259 French 283 Italian Renaissance 309 Carolingian 331 Neo-Impressionism 211 261 Flemish Baroque 285 Wu School 313 Celtic 333 213 Mughal Painting 263 Italian Baroque 287 Byzantine 335 Impressionism 215 Qing Eccentricity 265 Luminism 219 Aesthetic Movement 221 Pre-Raphaelite Brotherhood 223 School 225 Shanghai School 227 Realism 229 231 School 233 Juste Milieu 235 Nazarenes 237 239 Nanga 241

Preface

Art styles and movements are created or Art in Time examines each or move- identified in many different ways. Some are ment in the context of the times in which fashioned by groups of like-minded artists it arose, because an understanding of the who share a similar way of thinking or society and culture in which artists live is looking. Others are created in retrospect, crucial to understanding their art. For art by who seek to understand is , and all art is cul- based on shared affinities of technique or turally specific. The visual syntax of Cubism, theme. Yet others are born out of political for example, inspired in part by Picasso’s causes or in reaction to social or cultural fascination with the non- tradition circumstances – an attempt to alter history of African , was taken up by artists or reinforce the status quo or reject both worldwide but translated in different ways, in a determination to start again. especially among artists working outside the Art in Time introduces some 150 of the West, and the result was expressive of their most important and influential styles, own artistic climate. schools and movements, spanning not just Looking at the from where the Western tradition but also styles from we stand today reveals it to be diverse and , , Japan, and often sepentine, moving freely across a . Beginning with the present day and wide-range of disciplines and influences. moving back in time, the reader is encour- A work such as Empirical Construction, aged to discover the way art plays with, and (1), by Julie Mehretu, an American born builds on, earlier ideas and beliefs – recon- in Ethiopia, reflects the overstimulation of necting the dots or, indeed, finding new contemporary global society, and at the same dots to connect. Someone familiar with time its inescapable links to the past. Strad- Young British Art of the 1990s and Neo-Geo dling and Asia, Istanbul was capital 9 creations of the 1980s, for example, will of the Roman, Byzantine and Ottoman discover that and empires. With its flags, Islamic motifs and borrowed from the irreverent attitudes and ancient Hagia church/mosque/muse-

Ready-mades of early twentieth-century um at the centre, this densely layered work Preface Dada, glorifying and commercializing explores themes of , , art, Duchamp’s anti-art gestures. - sport and politics in the context of a chaotic, ists of the mid-1980s, part of the ‘85 New exhilarating, modern metropolis. Wave movement, directly referenced mid- The intersections between the political, twentieth century from religious, economic and cultural timelines both China and Russia, stealing the signs of disparate societies and art practices show 1 and of a state-enforced style to use that art is not created in a vacuum, chrono- ironically as protest art. Mid-twentieth cen- logical or geographical. There is no right or tury Abstract Expressionism had its roots wrong way to understand the history of art, in the nineteenth century, when Impres- and the ever-shifting modes of constructing sionism first loosened the painter’s brush, and deconstructing the discipline defy and the Italian Renaissance is largely stagnation. This book is an invitation to see responsible for how we think of Classical art anew, adapting and reshaping the ways art today. we interpret the world around us.

1 Julie Mehretu, Empirical Construction, Istanbul, 2003 Ink and synthetic polymer paint on canvas, 304.8 × 457.2 cm / 10 × 15 ft of , New York

The Information Age: Twenty-first to Late Twentieth Century

Internet Art 13 Relational Art 15 17 Abject Art 19 ’85 New Wave 21 Cuban Renaissance 23 Contemporary Aboriginal Art 25 Neo-Geo 27 Postmodernism 29 Düsseldorf School 31 Neo-Expressionism 33 School of London 35 New Topographics 37 Land Art 39 Feminism 43 47

World Wide Web released, 1990 XXII Olympic Winter 2014 Prime minister Tayyip Games held in Erdoğan attempts to shut Sochi, Russia down Twitter and other social networks in Russia annexes Crimea following the removal of President Viktor Yanukovych and a Crimean referendum

Pope Benedict XVI resigns, 2013 American Edward the first to do so voluntarily Snowden reveals US When the World Wide Web launched in the In the chaotic and politicized public since 1294; Pope Francis mass electronic early 1990s it signified the start of a new era, space of the internet, it is not suprising that becomes the first Jesuit surveillance programme pope, and the first pope opening an epoch of globalized networks artists have sought to address and protect from the Americas Google turns off China and computers, paralleling the emergence its democratic autonomy. Web Stalker censorship warning of a unipolar world after the recent collapse (1997–8), a project created by the collabora- China overtakes the US 2012 of the Soviet Bloc. As a developing network, tive group I/O/D, offered users an alterna- as the world’s largest trading nation the internet became a space for exploration tive web browser that revealed the inner and experimentation within which entirely workings – the HTML coding – of any Russian punk band Pussy Riot are charged with new categories of community, interaction visited website. The Yes Men were famously ‘hooliganism motivated and creativity could be imagined. Internet able to disrupt and satirize the World Trade by religious hatred’ following a protest in art – also referred to as , net.art Organization by cloning and altering the a cathedral or Web art – emerged as a direct response WTO’s official website, with a member of

Anti-government 2011 to this technology, with artists approach- the group eventually appearing on televi- demonstrations in Tunisia ing the internet as an artistic medium to sion as a ‘representative’ of the interna- inaugurate Arab Spring, be explored, shaped and challenged. While tional body. Projects like these blur the toppling regimes in Tunisia, , Libya and the promise of an art that is universally line between artwork and political activism , and sparking civil accessible and infinitely expandable can and recall the history of such online action war in be traced back to the aspirations of earlier groups as the Free Software Movement, Protesters converge on twentieth-century avant-gardes, Internet founded in 1983 by computer programmer Zuccotti Park in New York’s Financial District and art is unique in that it uses and repurposes and activist Richard Stallman (b. 1953), the Occupy Wall Street the defining tool of the information age. as well the more recent whistleblowing movement begins, later spreading to 82 countries A key feature of this art is its examination organization Wikileaks. of the technology itself, and the presence Internet art not only challenges tradi- 2010 Wikileaks publishes online over 90,000 reports about it has in daily life. Joan Heemskerk (b. 1968) tional notions of what an artwork looks like, 13 US-led involvement in and Dirk Paesmans (b. 1965) – the duo it also examines the division between artist since 2004 and more than 250,000 behind the JODI – create and viewer. The role of artist as a ‘facilitator’ classified diplomatic cables online projects and new media works that of information is reflected in projects such

UNESCO launches the 2009 Reactions to the death distort and repurpose familiar software, as Communimage (1), a work initated by the World Digital Library of singer Michael Jackson web browsers, search engines and various collective CALC, together with Johannes Art Internet push internet traffic to historically other online platforms in an effort to create Gees. Communimage is an online project unprecedented levels new modes of interacting with the digital that invites particpants to submit their own

Stock markets plunge amid 2008 landscape. In GEO GOO (2008), the artists images, which are then quilted together to fears of a US recession; programmed glitches and malfunctions into form a visual whole. Collaborative, self-sus- global financial crisis labelled worst since the Google Maps, transforming the symbols taining and ongoing, the work continutes and of the online service into a semi- to grow and change shape. Communimage

Barack Obama becomes abstract, decorative . Purpose- offers a space for collective creation, allow- the first African–American fully disorientating and at the same time ing participants to visualize the potential of President of the ornate, such a project inherits the anarchic the internet as a democratic, unified whole. history of (see pp.160–61), while at Apple launches the iPhone 2007 same time it evokes the lushly ornamented 2006 Social micro-networking maps of the Dutch Golden Age (pp.278–79). site Twitter launched

2005 YouTube video sharing website launched

2004 Social networking site Facebook launched

The ‘dot-com’ bubble, 2000 a speculative frenzy of investment in Internet- related stocks, bursts, and hundreds of start-up companies fold

1997 Larry Page and Sergey Brin found Google

1990 CERN releases World Wide Web, the first public face of 1 CALC and Johannes Gees, Communimage, 1999–ongoing the Internet Visual interface, statistics as of 23 March 2014: 26,642 images, 94 countries, 2,338 contributors 1 Japan Cultural Forum is 1957 founded, with the aim to revive Japanese Culture in Jikken Kōbō the postwar period

Japan joins the 1956 United Nations

Liberal Democratic Party 1955 (LDP) formed in Japan

Sony Corporation produces Named by art and poet Takiguchi of moving image, sound and spoken word the first mass-marketed Shūzō in 1951, Jikken Kōbō (meaning distinct from and less expensive than 35mm transistor radio, launching Japan’s electronics industry ‘Experimental Workshop’) was an eclec- . In their 'Fifth Presentation', Tales of an tic collaborative that included artists, Unknown World (2) and three other autoslide Burmese–Japanese peace 1954 The first Godzilla film treaty is signed in Rangoon, premiers in musicians, lighting designers and poets. works were presented, each incorporating Burma, and relations are Aligned closely with the ideals of Takiguchi futuristic imagery and a variety of sounds normalized between the two countries (1903–79), who served as a mentor to the from music to poetry to documentary narra- group, Jikken Kōbō artists used the concept tion, and purportedly including Japan’s first Architect Murano Togo 1953 Izawa Takumi, an editor completes the World at the popular weekly of experimentation to question and critique instance of musique concrète. The collabora- Peace Memorial Cathedral magazine Asahi Graph, conventions of art in Japan. These included tive image-making of the autoslide works in Hiroshima commissions members of Jikken Kōbō to create the staging of exhibitions in galleries and led to a series of interventions from 1953 images for the publication , and the tendency to adopt mod- to 1954 in the Asahi Picture News section

Jikken Kōbō’s '5th ern Western styles formulaically as signi- of the major weekly magazine Asahi Graph. Exhibition and fiers of without understanding Each week the APN title page featured a Presentation' takes place, their conceptual basis. Experiment was seen photograph of a construction by a different incorporating multimedia experiments and music by as a means to artistic freedom – a poignant member of Jikken Kōbō, with each succes- Takemitsu Tōru goal in the aftermath of Japan’s wartime sive image playing off the previous ones. US occupation of Japan 1952 authoritarian regime. Jikken Kōbō’s The Future Eve (1) was a bal- ends; US retains several and the Bridgestone In the spring of 1950, an art collective let based on a French novel about a robotic islands for military use, Museum open in Tokyo; including Okinawa Tokyo launched named Toridan (Trident) and a group of woman and a man. Inspired by the musicians who had met as members of a increasing alienation engendered by Japan’s Japan signs a 1951 Composer Toshiro Security Treaty with Mayuzumi is exposed to choir in 1946 began a series of discussions rapid post-war indutrialization, Jikken the US Musique concrète while and informal concerts that grew into Jikken Kōbō’s iteration of the story ends with the studying in ; his work X, Y, Z, created four Kōbō. Their first collaboration, the ballet lawful killing of Adam for his of the 103 years later, becomes the The Joy of Life, staged in conjunction with robot Eve. first Japanese work to use electronically a 1951 Picasso exhibition, set the tone for In spite of a fascination with science 1 altered sounds their rigorous experimentation, bringing fiction, the group’s distrust of modern

Museum of Modern Art in art out of the exhibition hall and into direct industrial production explains why Jikken Kamakura established as

conversation with music, and poetry. Kōbō never incorporated into a Bauhaus- Kōbō Jikken the first public museum of modern art in Japan The Joy of Life set a precedent for connecting like artists’ production company, electing to with international art and music practices, remain independent and experimental until The US drops atomic 1945 bombs on the Japanese and Jikken Kōbō not only drew inspiration unofficially disbanding after 1957. Many of cities of Nagasaki and from international modern art movements, its members participated in experimental Hiroshima; the Japanese Empire formally surrenders including Expressionism (see pp.176–79), events at Sōgetsu Art Center and Osaka’s to Allied forces, bringing Constructivism (pp.162–63) and Surrealism Expo ’70, and set the tone for rebellions World War II to an end (pp.150–53), but also introduced the music against the art establishment that led to the of Olivier Messiaen, Béla Bartók and Leon- development of anti-art by groups such as ard Bernstein to Japanese audiences. Tokyo Fluxus, Hi Center and Neo-Dada

In 1953 Jikken Kōbō began to work with (pp.90–91) in the 1960s. 2 the autoslide projector, recently developed by . This projector enabled images to be synchronized with magnetic tape record- ings, creating a fully integrated experience

1 Jikken Kōbō with Kawaji Akira and Matsuo Akemi, The Future Eve, 1955 still Shigeru Yokota Gallery, Tokyo

2 Kitadai Shōzō, Tales of an Unknown World, 1953 Stills from automatic slide project with sound Shigeru Yokota Gallery, Tokyo CBS stages the first 1940 experimental broadcast of colour from Regionalism the Chrysler Building in New York

The beginning of Social Security in the US

1939 The documentary debuts at the World’s Fair in New York, contrasting Their idealized and reassuring depictions of the Jealous Lover of Lone Green Valley (3), the problems of the of the American Midwest and its rural inspired by a well-known folk song, shows industrialized city with the utopian ideals of small- way of life may have had little grounding figures unnaturally contorted, almost town America in reality, but the country’s regionalists grotesque, but the image itself is bold and

Thornton Wilder’s play Our 1938 were nevertheless well received during a brimming with movement, action and emo- Town debuts time of fading American optimism. As the tion. This bias towards dramatic storytell-

Aviation pioneer Amelia 1937 Great Depression of the gave rise to ing is also seen in the work of John Steuart Earhart disappears while growing political uncertainty, Regionalism Curry, who was more preoccupied with the flying over the Pacific Ocean to Howland Island would become the dominant struggles of the archetypical rural family of the period. Its fierce nationalism and against violent forces of nature. Tornado Convinced that pictures 1936 (4) should play a dominant rejection of the corrupting influences of Over depicts the patriarchal, role in the telling of a modernism and industrialization offered square-jawed father leading the family to story, publisher Henry Luce launches the photo a sense of hope and promoted solidarity safety and standing firm amidst the twist- magazine Life in a country still coming to terms with ing structures of the homestead. Curry had the increasingly harsh realities of urban previously been employed as an illustrator 1935 Work Progress establishes life. Cities such as New York, saturated by and offers little in the way of ambiguity. The Federal Art Project foreign influences and run by ‘precious The work of Grant Wood, who often told with the purpose of providing work for fairies’, as Thomas Hart Benton (1889–1975) journalists he returned to because unemployed artists described them, were seen as loathsome. ‘I realized my best ideas came to me whilst during the Great Depression, commissioning Benton sought to promote an America I was milking cows’, is far more elusive. 1 posters, and made up of hard-working citizens who Even the title of his masterpiece, American ; Regionalism is unofficially adopted as the toiled on the plains of the Midwest. Along- Gothic (2), is ambiguous. While it seems preferred style side Grant Wood (1891–1942) and John to refer to the building behind the main

Grant Wood publishes the Steuart Curry (1897–1946), he formed the figures, it also has connotations with Edgar 127 pamphlet Revolt Against ‘Regionalist Triumvirate’, and was one of the Allan Poe and the prejudice prevalent in the City, arguing that American art should no movement’s most vocal members. Together, big American cities towards supposedly in- longer look to modern they would lead the charge, he said, for bred country folk. The piece could be read Parisian culture for subject matter and style good honest images that were not foreign, as both sincere and satirical in its portrayal elitist or ‘citified’, and which depicted of nineteenth-century Midwestern values. The drought-induced 1934 Associated American Regionalism Dust Bowl covers much Artists is established in indigenous American subjects. Benton even (1882–1967) is similarly of Kansas, , New York, a gallery and destroyed much of his earlier work to ‘get perplexing in Nighthawks (1). Like Wood, Oklahoma, and business marketing art to New , devastating the middle classes in the all of that modernist dirt out of my system’, Hopper contrasts to earlier Regionalists farming and local business form of popular prints; before heading for Jefferson City, Missouri, such as Benton, whose work he thought Grant Wood and Shirley appears where he completed a highly controversial ‘caricatured America’. Yet Nighthawks does in her first big hit, contribute work to adorn the Lounge, under not offer a hopeful view of the American Stand Up and Cheer; the child star becomes the auspices of the Federal Art Project. heartland, but a melancholy vision of the a national sensation His figures, bulky and posturing, divided urban isolation and incipient violence that

The Great Depression 1933 audiences; one legislator in the state capital became more visible and prevalent during 3 peaks, with some 13 to building remarked that you could not sit the Depression. 15 million Americans unemployed down for a game of cards without Jesse James about to jump on your back. Standard Oil of This emphasis on narration was a recur- is granted a 60-year concession to explore the ring feature of Benton’s work. The Ballad Saudi Arabian desert for oil

Sale of alcohol resumes in the US, following the end of Prohibition

Kidnapping of aviator 1932 Charles Lindbergh's infant son in New Jersey

The Chrysler 1930 Thomas Hart Benton paints 1 Edward Hopper, Nighthawks, 1942 3 Thomas artH Benton, The Ballad of the Jealous Lover of Lone Building is completed in his 10-panel mural America Oil on canvas, 84.1 × 150 cm / 33 × 60 in Green Valley, 1934 New York, briefly becoming Today in the recently built Art Institute of , Illinois Oil and on canvas mounted on panel, the tallest structure in the New School for Social 104 × 133 cm / 41 × 52¼ in world; it is surpassed by Research in New York 2 Grant Wood, , 1930 Spencer Museum of Art, Lawrence, Kansas the Empire State Building Oil on canvas, 78 × 66.3 cm / 30¾ × 26 in 11 months later , Illinois 4 John Steuart Curry, Tornado Over Kansas, 1929 Oil on canvas, 117 × 153 cm / 46¼ × 60½ in 2 4 Muskegon , Michigan 1926 creates Anémic Cinéma, an depicting Dada hypnotic, spiraling – Rotoreliefs – interspersed with puns

New York becomes the 1925 most populous city in the world, surpassing London

The Communist Arbeiter- 1924 ‘Dada means nothing’, wrote well-oiled mechanism, but one created from Illustrierte-Zeitung in the 1918 Dada Manifesto. Indeed, Dada is fragments of wood, wire and newsprint, (The Workers Pictorial Newspaper) is established definable more easily by what it was not seeming to stutter and grind; both picture in than by what it was. It was not a cohesive and worker are vulnerable and struggling.

Animal-extracted insulin 1922 writes the movement, but a mentality that was taken The Dada work produced in Paris and New is tested on patients Cow Manifesto up in a variety of ways: chaotic, experi- York may appear whimsical in comparison, with diabetes; Eli Lilly, a US pharmaceutical mental performance in Zürich from 1916; but it has an important legacy in Surrealism company, makes insulin satirical collage and painting in Berlin and (pp.151–53). Marcel Duchamp (1887–1968) commercially available (2) a year later Cologne; playful poetry and ‘Ready-mades’ used an upturned urinal in in Paris and New York. It was not about – signed with the pseudonym ‘R. Mutt’ – French couturier Gabrielle 1921 Marcel Duchamp and Man ‘Coco’ Chanel introduces Ray found the journal New formal or skill, unlike even such transforming it into a ‘Ready-made’, an exist- the perfume Chanel York Dada; Rrose Sélavy movements such as Cubism (pp.180–83) or ing object, manipulated subtly if at all, and No. 5; it becomes the –Duchamp’s alter ego world’s best-selling and pseudonym – first Futurism (pp.168–69). It was not about con- claimed as ‘art’. It was rejected from the 1917 fragrance appears in a photograph forming: class, religion, war and art itself Society of Independent Artists exhibition in by were all under scrutiny and attack by often New York, despite the promise that all works Swiss psychiatrist 1920 The first 'International humorous and always incisive artists who submitted would be shown. Fountain was Hermann Rorschach Dada Fair' takes place sought to break down barriers between art dismissed as ‘immoral’ and ‘pure plumbing’, devises the Rorschach in Berlin inkblot test, whereby and everyday life. but the repost in a New York publication The perceptions of abstract For post-war Germany, everyday life Blindman is clear: ‘Whether Mr. Mutt with inkblots are analyzed, revealing underlying was wrought with anxiety and a sense of his own hands made the fountain or not thoughts or blocked wounded loss; both Cut with the Dada Kitchen has no importance. He CHOSE it. He took psychological issues Knife (3), by Hannah Höch (1889–1978), an ordinary article of life, placed it so that publishes 1919 The literary journal La and The Worker Picture (1), by Kurt Schwit- its useful significance disappeared under a his essay 'The Uncanny', Nouvelle Revue Française outlining his concept of resumes publication in ters (1887–1948), speak to this with painful new title and point of view.’ Duchamp thus 161 an instance where Paris after a cessation eloquence. Höch used photos from news- questions what art should be, defying the something can be both during the war familiar and alien papers and magazines to create a montage importance of originality and transform- in which the placement of image and text ing the everyday into something inherently The Treaty of Brest-Litovsk, 1918 Tristan Tzara writes Dada signed between the new the Dada Manifesto is telling: Kaiser Wilhelm’s face appears dysfunctional and yet far from decorative. Bolshevik government of surrounding the word ‘anti’, and Höch’s Dada’s place within art history is the Russia and the Central Powers, ends Russia’s own face is next to a map of countries with subject of Dada Movement (4), by Francis participation in World female suffrage. The domestic kitchen knife Picabia (1879–1953): the image of a battery- War 1 suggests the abilities of female artists to cut operated clock mechanism marks the end- Japanese ophthalmologist 1917 Galerie Dada opens in through the gluttony at the heart of the war, point in a succession of attempts to define Shinobu Ishihara creates Zürich; Picabia publishes the Ishihara Colour Test, his first volume of poetry symbolized by the male-gendered ‘beer- what modern art should be, from Ingres enabling the detection of and the first issues of his belly’ of the title. The title of Schwitters’ to Kandinsky. Dada acts as a transformer, colour blindness periodical, 391 (after ’s gallery, 391, in piece comes from a fragment of newspaper redefining both art and the measurement of 1 New York) text pasted into the composition: Arbeiter life itself: the clock face contains the names

1916 Exiled German poet and (‘worker’). Indicating the working class, the of several key Dadaists, and the pendulum playwright Hugo Ball, along word is also a pun, suggesting that the pic- weight is labelled ‘391’, after his New York with other future members the Dada movement, open ture itself might ‘function’ with its system of Dada publication. the nightclub Cabaret cogs and pistons. However, this is no slick, Voltaire in Zurich

1 Kurt Schwitters, The Worker Picture, 1919 3 Hannah Höch, Cut with the Dada Kitchen Knife through the Paper, wood and metal on board, Last Beer-Belly Cultural Epoch in Germany, 1919 125 × 91 cm / 49¼ × 35¾ in Collage of pasted papers, 90 × 144 cm / 35½ × 56¾ in Moderna Museet, Staatliche Museen, Berlin

2 Marcel Duchamp, Fountain, 1964 (replica of 1917 original) 4 , Dada Movement, 1919 Porcelain, h: 36 cm / 14¼ in Ink on paper, 51.1 × 36.2 cm / 20 × 14¼ in 2 3 4 , London Museum of Modern Art, New York