Dada - Wikipedia, The Free Encyclopedia

8/3/2019 Dada - Wikipedia, The Free Encyclopedia

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Cover of the first edition of the

publication Dada by Tristan Tzara;

Zurich, 1917

DadaFrom Wikipedia, the free encyclopedia

Dada ( /dd/) orDadaim is a cultural movement that

began in Zurich, Switzerland, during World War I and peaked from

1916 to 1922.[1] The movement primarily involved visual arts,

literaturepoetry, art manifestoes, art theorytheatre, and graphic

design, and concentrated its anti-war politics through a rejection of the

prevailing standards in art through anti-art cultural works. Its purpose

was to ridicule what its participants considered to be the

meaninglessness of the modern world. In addition to being anti-war,

dada was also anti-bourgeois and anarchist in nature.

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. The

movement influenced later styles like the avant-garde and downtownmusic movements, and groups including surrealism, Nouveau ralisme,

pop art, Fluxus and punk rock.

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.Marc Lowenthal, translator's introduction to Francis Picabia's I Am a Beautiful Monster: Poetr, Prose, And

Provocation

Conen

1 Overview

2 History

2.1 Zurich

2.2 Berlin

2.3 Cologne

2.4 New York2.5 Paris

2.6 Netherlands

2.7 Georgia

2.8 Yugoslavia

2.9 Tokyo

3 Poetry; music and sound

4 Legacy

5 Art techniques developed

5.1 Collage5.2 Photomontage

5.3 Assemblage

5.4 Readymades

6 See also


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Carl Jung on the Dada

productions.[2]

Hannah Hch, Cut with the Dada

Kitchen Knife through the Last

Weimar Beer-Bell Cultural Epoch in

German, 1919, collage of pasted

papers, 90x144 cm, Staatliche

Museum, Berlin

7 References

7.1 Bibliography

8 External links

Overview

Dada was an informal international movement, with participants inEurope 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 conformityin art and more

broadly in societythat corresponded to the war.[3]

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."[4]

According to Hans Richter, Dada was not art, it was "anti-art". [3]

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. Through their rejection of traditional culture and aesthetics, theDadaists hoped to destroy traditional culture and

aesthetics.[citation needed]

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."[5]

A reviewer from theAmerican 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 historianshave 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."[6]

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."[6]

Histor

Zurich

In 1916, Hugo Ball, Emmy Hennings, Tristan Tzara, Jean Arp, Marcel Janco, Richard Huelsenbeck, Sophie

Tuber, and Hans Richter, along with others, discussed art and put on performances in the Cabaret Voltaire

It's too idiotic to be schizophrenic.


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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.[7]

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 thestatus

quo.[8]

Marcel Janco recalled,

We had lost confidence in our culture. Everthing had to be demolished. We would begin again after

the tabula rasa. At the Cabaret Voltaire we began b 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[9] 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 reviewDada 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 Tuber, would remain in Zurich into

the 1920s.

Belin

The groups in Germany were not as strongly anti-art as other groups. Their activity and art was 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.

In February 1918, Huelsenbeck gave his first Dada speech in Berlin, and produced a Dada manifesto later in

the year. Hannah Hch 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 theFirst International Dada Fair, 'the greatest

project yet conceived by the Berlin Dadaists', in the summer of 1920.[10] As well as the main members of Berlin


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Cover ofAnna Blume, Dichtungen,

1919

Marcel Duchamp,Fountain, 1917.

Photograph by Alfred Stieglitz

Dada, Grosz, Raoul Hausmann, Hch, 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.[10] In all, over 200 works were

exhibited, surrounded by incendiary slogans, some of which also

ended up written on the walls of the Nazi'sEntartete Kunst

exhibition in 1937. Despite high ticket prices, the exhibition lost

money, with only one recorded sale.[11]

The Berlin group published periodicals such as Club Dada,Der

Dada,Everman His Own Football, andDada Almanach.

Cologne

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 lewdpoetry 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.[12]

Ne York

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

activitiesDada, but they did not issue manifestos. They issued

challenges to art and culture through publications such as The Blind

Man,Rongwrong, andNew York Dada in which they criticized the

traditionalist basis formuseum art. New York Dada lacked the

disillusionment of European Dada and was instead driven by a sense

of irony and humor. In his bookAdventures in the arts: informal

chapters on painters, vaudeville and poets Marsden Hartley

included an essay on "The Importance of Being 'Dada'".

During this time Duchamp began exhibiting "readymades" (found objects) such as a bottle rack, and got involved

with the Society of Independent Artists. In 1917 he submitted the now famousFountain, a urinal signed

R. Mutt, to the Society of Independent Artists show only to have the piece rejected. First an object of scorn

within the arts community, theFountain has since become almost canonized by some. The committee presiding

over Britain's prestigious Turner Prize in 2004, for example, called it "the most influential work of modern

art."[13] 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.


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Rrose Slavy, the alter ego of

famed Dadaist Marcel

Duchamp.

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).

Pai

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, Andr Breton, Max Jacob, Clment 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 withPicasso and Cocteau in a mad, scandalous ballet calledParade. 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 ofDada,Le Cannibale, andLittrature featured Dada in several editions.)[14]

The first introduction of Dada artwork to the Parisian public was at the Salon des Indpendants in 1921. JeanCrotti exhibited works associated with Dada including a work entitled, Explicatifbearing the word Tabu. In

the same year Tzara staged his Dadaist play The Gas Heartto 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 Andr

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.

Neheland

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 inDe Stijlsuch 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 Huszr demonstrated a mechanical dancing doll and Nelly Van Doesburg

(Theo's wife), played avant-garde compositions on piano.

Van Doesburg wrote Dada poetry himself inDe 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 Mcano.

Geogia

Although Dada itself was unknown in Georgia until at least 1920, from 1917-1921 a group of poets called


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The Janco Dada Mem, named

afe Macel Janco, in Ein Hod, Iael

hemele "41 Degee" (efeing boh o he laide of Tbilii, Geogia and o he empeae of a high fee)

oganied along Dadai line. The mo impoan fige in hi gop a Iliad, hoe adical pogaphical

deign iall echo he pblicaion of he Dadai. Afe hi fligh o Pai in 1921, he collaboaed ih

Dadai on pblicaion and een.

Yugoslavia

In Ygolaia hee a hea Dada acii beeen 1920 and 1922 n mainl b Dagan Alekic andinclding Mihailo S. Peo, Zenii' o bohe Ljbomi Micic and Banko Ve Poljanki. Alekic ed he

em "Ygo-Dada" and i knon o hae been in conac ih Raol Hamann, K Schie, and Tian

Taa.[15]

Toko

A pominen Dada gop in Japan a MAVO (JA), fonded b Tomoohi Maama and Maam Yanae

(DE, JA). Ohe pominen ai ee Jn Tji, Eike Yohiki, Shinkichi Takahahi (JA) and Kae

Kiaono.

Poetr; music and sound

Dada a no confined o he ial and liea a; i inflence eached ino ond and mic. K Schie

deeloped ha he calledond poem, hile Fanci Picabia and Geoge Ribemon-Deaigne compoed

Dada mic pefomed a he Feial Dada in Pai on 26 Ma 1920. Ohe compoe ch a Ein

Schlhoff, Han Hee and Albe Sainio all oeDada mic, hile membe of Le Si collaboaed ih

membe of he Dada moemen and had hei ok pefomed a Dada gaheing. Eik Saie alo dabbled

ih Dadai idea ding hi caee, alhogh he i pimail aociaed ih mical Impeionim.

In he e fi Dada pblicaion, Hgo Ball decibe a "balalaika ochea plaing delighfl folk-ong."

Afican mic and ja a common a Dada gaheing, ignaling a en o nae and naie

pimiiim.[ciaion needed]

Legac

While boad, he moemen a nable. B 1924 in Pai, Dada

a melding ino ealim, and ai had gone on o ohe idea

and moemen, inclding ealim, ocial ealim and ohe fom of

modenim. Some heoi age ha Dada a acall he

beginning of pomoden a.[16]

B he dan of Wold Wa II, man of he Eopean Dadai had

emigaed o he Unied Sae. Some died in deah camp nde

Adolf Hile,[ciaion needed] ho peeced he kind of "Degeneae

a" ha Dada epeened. The moemen became le acie a

po-Wold Wa II opimim led o ne moemen in a and

lieae.

Dada i a named inflence and efeence of aio ani-a and poliical and clal moemen inclding he

Siaioni Inenaional and cle jamming gop like he Cacophon Socie.

A he ame ime ha he Zich Dadai made noie and pecacle a he Cabae Volaie, Vladimi Lenin


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Raoul Hausmann

ABCD (Self-

portrait) A

photomontage from

1923-24

Raoul

Hausmann

Mechanischer

wrote his revolutionary plans for Russia in a nearby apartment. Tom Stoppard used this coincidence as a

premise for his playTravesties (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-cheekLnine 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.[17] 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.[18]

Art techniques developed

Collage

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

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.[19]

Assemblage

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 fastenedtogether in different fashions. Assemblages could be seen in the round or could be

hung on a wall.[20]

Readmades

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


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Kopf (Der Geistunserer Zeit)(MechanicalHead [The Spiritof Our Age]), c.1920

graphic detail of presentation which in order to satisfy my craving for alliterations, wouldbe called 'readymade aided.'" [21] One such example of Duchamp's readymade works isthe urinal that was turned onto its back, signed "R. Mutt", titled "Fountain", and submittedto the Society of Independent Artists exhibition that year.[8]

See alo

Art interventionBonzo Dog Doo-Dah BandThe Central Council of Dada for the WorldRevolution

pater la bourgeoisieFuturismHappening

Refeence

1.^

de Micheli, Mario(2006). Las vanguardias artsticas del siglo XX. Alianza Forma. p.135-1372. ^ Melzer (1976, 55).

3. ^ Richter, Hans (1965),Dada: Art and Anti-art, Oxford Univ Press4. ^ Schneede, Uwe M. (1979), George Grosz, His life and work, Universe Books5. ^DADA: Cities (http://www.nga.gov/exhibitions/2006/dada/cities/index.shtm) , National Gallery of Art,

http://www.nga.gov/exhibitions/2006/dada/cities/index.shtm, retrieved 2008-10-19

6. ^ Fred S. Kleiner (2006), Gardner's Art Through the Ages (12th ed.), Wadsworth Publishing, p. 7547. ^ Tom Sandqvist,DADA EAST: The Romanians of Cabaret Voltaire, London MIT Press, 2006.

8. ^ , http://www.nga.gov/exhibitions/2006/dada/cities/index.shtm9. ^ "Cabaret Voltaire" (http://www.dada-companion.com/cabaret/) . DADA Companion. http://www.dada-

companion.com/cabaret/. Retrieved 2011-06-11.10. ^ Dada, Dickermann, National Gallery of Art, Washington, 2006 p44311. ^ Dada, Dickermann, National Gallery of Art, Washington, 2006 p9912. ^ Schaefer, Robert A. (September 7, 2006), "Das Ist DadaAn Exhibition at the Museum of Modern Art in

NYC" (http://www.doubleexposure.com/DadaExhibit.shtml) , Double Exposure,http://www.doubleexposure.com/DadaExhibit.shtml

13. ^ "Duchamp's urinal tops art survey" (http://news.bbc.co.uk/2/hi/entertainment/4059997.stm) , BBC NewsDecember 1, 2004.

14. ^ Marc Dachy, Dada, la rvolte de l'art, Paris, Gallimard / Centre Pompidou, "Dcouvertes" n 476 , 2005.15. ^ [1] (http://books.google.com/books?id=c8ZbINFYdVoC&pg=PA132&lpg=PA132&dq=Yugo-

Dada&source=bl&ots=wkZIUoT3bQ&sig=jU2Bh9Eu9uZh6u-

HRFYnC8PEdhU&hl=en&ei=ssJdSo_cFI66Nazp_b8C&sa=X&oi=book_result&ct=result&resnum=1)Impossible Histories Historic Avant-Gardes, Neo-Avant-Gardes, and Post-Avant-Gardes in Yugoslavia, 1918-1991, Edited by Dubravka Djuric and Misko Suvakovic, pp.18, 71,132, retrieved July 15, 2009

16. ^ Locher, David (1999), "Unacknowledged Roots and Blatant Imitation: Postmodernism and the DadaMovement" (http://www.sociology.org/content/vol004.001/locher.html) ,Electronic Journal of Sociology4(1), http://www.sociology.org/content/vol004.001/locher.html, retrieved 2007-04-25

17. ^ 2002 occupation by neo-Dadaists (http://www.praguepost.com/articles/2006/11/01/a-work-in-process.php)Prague Post

18. ^ [http://www.ltmrecordings.com/fdrcat.html19. ^ "DADA - Techniques-photomontage" (http://www.nga.gov/exhibitions/2006/dada/techniques/index.shtm) .

Nga.gov. http://www.nga.gov/exhibitions/2006/dada/techniques/index.shtm. Retrieved 2011-06-11.20. ^ "DADA - Techniques -assemblage" (http://www.nga.gov/exhibitions/2006/dada/techniques/assemblage.shtm)

. Nga.gov. http://www.nga.gov/exhibitions/2006/dada/techniques/assemblage.shtm. Retrieved 2011-06-11.21. ^ "The Writings of Marcel Duchamp" ISBN 0-306-80341-0


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Bibliograph

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 Citren, Paul Derme, Daimonides,

Max Goth, John Heartfield, Raoul Hausmann, Richard Huelsenbeck, Vincente Huidobro, Mario DArezzo,

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)

Dachy, Marc. Journal du mouvement Dada 1915-1923, Genve, Albert Skira, 1989 (Grand Prix du Livre

d'Art, 1990)

Dada & les dadasmes, Paris, Gallimard, Folio Essais, n 257, 1994.

Jovanov, Jasna. Demistifikacija apokrifa: Dadaizam na jugoslovenskim prostorima, Novi Sad/Apostrof

1999.

Dada, la rvolte de l'art, Paris, Gallimard / Centre Pompidou, Dcouvertes n 476, 2005.

Archives Dada / Chronique, Paris, Hazan, 2005.

Dada, catalogue d'exposition, Centre Pompidou, 2005.

Durozoi, Grard.Dada et les arts rebelles, Paris, Hazan, Guide des Arts, 2005Hoffman, Irene. Documents of Dada and Surrealism: Dada and Surrealist Journals in the Mary Reynolds

Collection (http://www.artic.edu/reynolds/essays/hofmann.php) , 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

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 ofMinnesota Press, 2010)

Richter, Hans. Dada: Art and Anti-Art(London: Thames and Hudson, 1965)

Sanouillet, Michel. Dada 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, Aurlie.L'ABCdaire de Dada, Paris, Flammarion, 2005.

Eternal links

Dada (http://www.dmoz.org/Arts/Art_History/Periods_and_Movements/Dada//) at the OpenDirectory Project

Dada art (http://www.peak.org/~dadaist/Art/index.html) - includes images showing the characteristics

of Dada

The International Dada Archive (http://www.lib.uiowa.edu/dada/) - includes scans of publications

Dadart (http://www.dadart.com/dadaism/dada/index.html) - includes history, bibliography,

documents, and news

Dada magazine (http://www.ossilegium.com/dada/one/) translated into English and remastered for the

internet.

Dada audio recordings at LTM (http://www.ltmrecordings.com/fdrcat.html)

Manifestos

Text of Hugo Ball's 1916Dada Manifesto


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10/10n ikipedia org/ iki/Dada

Text of Tristan Tzara's 1918Dada Manifeo

(http://www.391.org/manifestos/19180323tristantzara_dadamanifesto.htm)

Excerpts of Tristan Tzara'sDada Manifeo (1918) andLece on Dada (1922)

(http://www.english.upenn.edu/~jenglish/English104/tzara.html)

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