Dadaism (and people’s perception towards modern art)

Dadaism

KMLA 10b5 Hannah Joo

1 .Introduction

When a society faces huge waves of change, it is the most vividly shown through art. Art, by definition, a subject that has its goal on freely expressing human emotions and thoughts, dynamically changed through thousands of years of human history, each form conveying each age’s culture and psychology. That is why art is not a simple amusement; it is a significant symbolism to society.

Dadaism is one of the most influential art movements in the modern ages. Although other massively important movements exist (Impressionism, Expressionism, Futurism, etc.) Dadaism is the one that brought the most drastic change in the flow of art. The art form before modern ages was quickly dismantled, with more free and various types of art such as Surrealism succeeding Dadaism.

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:

2. The emergence of Dadaism

Dadaism emerged from the outbreak of World War 1. As war broke, many people in Europe believed that war was an expression of patriotism and bravery, thus everyone looked forward to it with some excitement for a new opportunity. However, with new weaponry and effective war methods involved, World War 1 was far from the ideal form of war. It was cruel, involved millions of unprecedented death, and sacrifice of innocent citizens for the power struggle of the bourgeois. Whereas before World War 1 the rationalist ideas prevailed, after it many people were regretful of those thoughts since they were a mere tool to rationalize the selfish actions of bourgeois and people in power.

Dadaism started in Zurich, Switzerland. In 1916, Zurich, Hugo Ball, Emmy Hennings, Tristan Tzara, Jean Arp, Marcel Janco, Richard Huelsenbeck, Sophie Täuber, and Hans Richter along with other artists gatherd in Cabaret Voltaire to share their new ideas on art and criticize the society. Zurich, within Switzerland, was a neutral zone far away from major European conflicts, therefore provided a free environment for new thinkers to communicate. Of course, their major theme of debate was on changing the cadent society that started bloody wars for the good of a few people. Cabaret Voltaire was the mecca of such debates, especially among artists with radical thoughts of change. Various experimental types of art were tried out. Marcel Janco recalled,

We had lost confidence in our culture. Everything had to be demolished. We would begin again after the tabula rasa(blank state). At the Cabaret Voltaire we began by shocking common sense, public opinion, education, institutions, museums, good taste, in short, the whole prevailing order.

Art forms like performance art, simultaneous poetry, and sound poetry were carried out. The goal of Cabaret Voltaire was on creating artistic chaos where social norms would be destructed; poets screamed and jumped, musicians shattered violins, and artists sprayed paint on the floor. All of these experiments contributed to the formation of Dadaism. The origin of the word ‘dada’ itself shows the idea that Dadaists pursued: when the artists felt a need to name themselves, they randomly opened a page in a dictionary, and found the word ‘dada’ in the right middle of the page. This reflects their

though that art does not always have to be intentional; sometimes, sub consciousness and luck can be profoundly conveyed in art.

On July 28^th, 1916, Hugo ball read out the Dada manifesto, and in June, a journalism magazine with the same name. The manifesto starts with this:

Dada is a new tendency in art. One can tell this from the fact that until now nobody knew anything about it, and tomorrow everyone in Zurich will be talking about it. Dada comes from the dictionary. It is terribly simple. In French it means “hobby horse”. In German it means “good-bye”, “Get off my back”, “Be seeing you sometime”. In Romanian: “Yes, indeed, you are right, that’s it. But of course, yes, definitely, right”. And so forth. … Till one goes crazy. Till one loses consciousness. How can one get rid of everything that smacks of journalism, worms, everything nice and right, blinkered, moralistic, europeanised, enervated? By saying dada. Dada is the world soul, dada is the pawnshop. Dada is the world’s best lily-milk soap.

After the manifesto was announced, Cabaret Voltaire was shut down and Hugo Ball left for Berlin. So from then Tristan Tzara succeeded the newborn movement. He wrote a second manifesto, bombarded artists in France, Germany, and Italy with letters of advertising Dadaism, and finally reestablished Cabaret Voltaire. When the World War ended, many artists who resided in Zurich returned to their home countries, thus spreading Dadaism to whole Europe. Major regions that embraced Dadaism are Paris, New York, Berlin, Cologne, and Yugoslavia.

3. Characteristics of Dadaism

All Dadaists believed that rationalism and colonialism was the main reason to the inhumane war.

To go against these values they believed in irrationality and chaos, which would destruct the existing

social conformities. It was against everything that corresponded to previous social values; even art was denied. Dadaism was a form of art, but also was anti-art as in the means of neglecting all criteria of aesthetics of the era. We can compare Dadaism to Eschatology; Eschatology believes in imminent end of the world, and looks forward the purification of the world of god. Dadaism tries to purify the world through art. To purify, everything that existed in the previous era of cadence had to be destroyed: Dadaists wanted to create tabula rasa, a blank paper.

But in their method of realizing this purification, they were closer to Anarchism. ‘Propaganda by deed’, a well- known strategy of anarchists, was used by Dadaists as well. According to Jean Arp,

‘We pondered for a way to save humanity from the world of bloody slaughterhouse, and the only way

To do that was anonymous behavioral art created by a group.’ The art Dadaists created were thus like artistic terrorism towards conformists that neglected the cruelties of war.

Dadaism was actually greatly influenced by futurism and expressionism of the previous era. But what the Dadaists realized was that the technological advancement futurism longed for was only used for mass killing of innocent human beings in war. So, although in expressing their thoughts Dadaists used radicalism and destruction like the futurists, they were very pessimistic towards the future. Rationalism and obsession to logic that were pursued by the futurists was what Dadaism fought against, as well. On the comparison with expressionism, both Dadaism and expressionism were against rationalism. However, expressionism based their art upon humanism and values of bringing the world into one through illogical expressions. Dadaism was not about humanism or any kind of social values; the internal values that expressionists put importance on were too ideological to the new wave of artists. They argued that expressionism was ‘not an intentional action, but an action of escape and oblivion from the reality and war.’ Whereas expressionism maintained their basis on ethos, trying to revive the vitality of humanity, Dadaism radically trashed all social values including art.

Dadaism was an enormous social movement, but not an unified one. They were not interested in making one single form of art, and there was no such form that was agreed upon. So in the perspective of form, elements of expressionism, futurism, and cubism were confusingly mixed. But Dadaism created some expression methods that greatly affected later artists. They were ready-made art and art by coincidence. Let us examine the two important forms of art through specific examples.

Ready- made art:

Nominalism in philosophy argues that concepts do not exist, but only their names do. In a Similar sense, nominalism in art asserts that the artwork itself does not exist, only their names. Dadaist Marcel Duchamp asks in his note, “Is it possible to transform ‘works’ into ‘works’”? The first work is the labor, or effort that the artist makes, and the second is the art created as the result. He also wrote on another note that naming an art piece and making it are one. His art pieces don’t have to be made, because according to nominalism, merely naming it would give a new meaning to the already- existence piece, thus renewing its meaning. When his famous art piece, <Fountain>, which was an urinal signed with paint by himself, was rejected by the art society, he sent an anonymous news-letter that said: It doesn’t matter if Mr. Mutt actually made the fountain or not. He chose it. He chose a common object, gave a new name, and viewed it in a new perspective to make its usefulness disappear. In another word, he made a new concept about that object. (Elger, 126)

2. Art by coincidence:

The art that we commonly think of conveys the artist’s objective in creating it. Generally an art piece has a special meaning or emotion that it tries to give to the viewers. But the Dadaists destructed this common concept. Tristan Tzara introduced his poem, <The Dada declaration on bitter and sweet love>, which was created by a method that he writes in his journal: pick up a newspaper, and a scissor. Cut out a part of it that you think would be appropriate for your poem. Then, cut out each word that form that article, put all of those pieces into a sack. Pick them out one by one. Copy them according to the sequence of the words. The poem will resemble you; you will be creating a infinitely beautiful and creative, although not understandable to the public, poem of your own. (Chin 87)

Coincidental art added the idea of games to art. Games that we play often have the idea of life that many incidents in our lives involve coincidence and luck, not our intentions. This concept was mixed with art, creating a form of art that excreted all intentions of the artist, and conveyed only the coincidental laws of the universe. This too, was to destroy the ‘intentional’ concept of art that was believed to be ‘just true’ for centuries. “Why does art have to be intentional?” Dadaists were asking through their works. Artists like Jean Arp drew pictures by randomly spilling ink, while Marcel Duchamp dropped three threads in the air, left them fallen to the ground and taped them, naming the work <Three standard safety catches>. While coincident art was prevalent in Zurich, ready- made art works were in trend in New York. However, through time the two methods began to be used at the same time, creating new concepts like collage, or even ideas like surrealism, which will be explained later on.

3. Dadaist artists

1) Hugo Ball

Hugo Ball was born in Germany, and studied psychology in his young ages. However, after witnessing the invasion of Belgium, he was very disappointed, saying: “The war is founded on a glaring mistake, men have been confused with machines.” He studied various new academics such as anarchism, but none of them perfectly interested him. After settling in Zurich Hugo became a leader of Cabaret Voltaire, and later the Dadaist movement. He met his wife at the cabaret, another dadaist artist, Emmy Hennings. Hugo Ball was a dadaist and also an anarchist, although he only embraced the philosophy and not the political movement of it.

His works include various impromptu performances at the cabaret that involved insaneness like shouting, screaming, and destroying musical instruments. But he was also a writer; he wrote a biography of Herman Hesse, several plays, and a poem named <Karawane>. <Karawane> consisted of meaningless words from different languages, which showed his perspective towards the meaninglessness of society and art. Although a founder of dadaism, his involvement lasted only two years. After that, he became a journalist, living a religious but poor life.

2) Tristan Tzara

Tristan Tzara, as can be suggested in his name that means ‘sorrowful in the country’, was one of the Dadaists that supported anarchism. He was born Sammy Rosenstock, in Romania. His interest in symbolism in his young ages made him close to the Dadaist artist Marcel Janco, which eventually led to his interest in Cabaret Voltaire. His significant contributions to establishing Dadaism and the manifesto, as mentioned above, are noticeable. Thus, he is also called ‘the president of Dadaism’. He was not only involved in pure art, but also created plays, poems, and sculptures. After moving to Paris, he became interested in Andre Breton’s Surrealism, which was beginning to branch out from original Dadaism. Although he defended Dadaist values, at the end he accepted the ‘automatic method’ of Surrealism, about which will be explained in the surrealism section of this paper later on.

But his best contributions was on creating Dadaist literature. He did not start as a Dadaist, and did not always stick with the idea with his life. At first, as a symbolist poet, he was greatly influenced by French symbolists. He experimented with symbolist images, like his ‘hanged man’, and started to break the syntax concept of poems. Between 1913-1915, he started to work with the poet Vinea, and their close relationship was alluded in the poems of both people. Tzara in this era often wrote poems based on irony and revolutionary ideas about society. He criticized middle class bourgeois for being decadent, thus his poems show this strong perspective. In ‘Night Falling’, he writes:

[…] open yourself therefore, window
and you night, spring out of the room like a kernel from the peach,

like a priest from the church

let’s go to the community park

before the rooster starts crowing

so that the city will be scandalized […]

This and a few other poems were introduced in Cabaret Voltaire, a radical leap from the previous Romanian poems. However, at this period he was still following conservative poetic rules.

After joining Cabaret Voltaire, he was influenced by new types of poets like Apollinaire. He participated in creating ‘simultaneous poetry’, which was a form of poetry that involved the various performances of the poet along with the text. Along with Hans Arp, he created the poem performance “The Hyperbole of the Crocodile’s Hairdresser and the Walking-Stick”. But most importantly, Tzara’s significant contribution was the Dada manifesto. His Dada manifesto of 1918 stated: “Dada means nothing”, adding “Thought is produced in the mouth.” He also mentioned: “I am against systems; the most acceptable system is on principle to have none.” He even once said that “logic is always false”. We can clearly see his transition from a Romanian revolutionist into a Dadaist. Of course, his Dadaist poems were popular among revolutionary artists than to the public. In one poem “The White Leprous Giant in the Landscape”) he even talked about the “skinny, idiotic, dirty” reader who “does not understand my poetry.” Rather than destroying the concept of art itself, he tried to give shock to the bourgeois. He prevalently used irony, silly imagery, ellipses, and contrast to do this. Tzara also created plays such as The Gast Heart and Handkerchief of clouds, both ridiculing the traditional thought about plays. The actors are called by their real names, the protagonist dies and does not get a name, and the lines include criticism on the play itself.

3) Jean Arp

Jean Arp was born Hans Arp in Strasburg, during the Franco- Prussian war. After spending his young years in Germany in France, traveling around various towns and experiencing diverse art forms. However in his late twenties he settled down in Zurich to join the Dadaist movement.Jean Arp worked in sculpture and structural art, trying to sustain Dadaism without destroying the basic formation of art. So his artworks resemble the works of minimalists or cubists, in a way that it simplifies the imagery of objects into basic colors and shapes. He represents the sculpture sector of Dadaist art, and was one of the people who tried to avoid radical methods of the original Dada. He thought expressing the artist’s thoughts in a free way was enough, and that there is no need to give shock to the public. Arp mentioned in his conversation that ‘Art exists not to give shock, but to give new impressions and thoughts’. Like hisstatement, his sculptures are full of imaginative figures and shapes.

4) Marcel Duchamp

Marcel Duchamp was a central figure in Dadaism. He, like many other Dadaists, started from post- expressionist and cubist art. His first work that entered into tackling social convention was the work <Nude Descending a Staircase No.2>. This was displayed in the New York Armory show, and aroused public controversy ranging from wild compliments to criticism. In this painting he had tried to combine futuristic, cubist, and expressionist methods to express the movement of a person.

<Nude descending a staircase No.2> by Marcel Duchamp

While staying in Germany, he was largely affected by Max Stirner’s <The ego and its own>, thus deciding to throw away ‘retinal art’. ‘Retinal art’ represented the former forms of art that was confined in the thought that art has to be beautiful, and art has to be intentionally producted by artists, etc. So after 1912, he paints only a few works on canvas. Instead, he studied mechanics and created tool-like art pieces like <Bride stripped bare by her barcelor, even> and <The large glass>. When he was earning money by working as a librarian, he was also touched by the academic work of Henry Poincare, who argued that no universal law can be ‘truly understood’ and therefore there exists no truth about the world. Duchamp believed this applied on art work as well; he thought he needed to escape from his conceptions and erase the limits set on the boundaries or art.

It was actually Duchamp who introduced the two major two methods of Dadaism, ready made and coincidental art. His first ready-made art piece was the well-known <fountain>, created by signing a urinal. The urinal, bought from a store, was simply signed ‘R.Mutt’, and was displayed in the show. The public was outraged by the ‘blasphemy’ towards art; it wasn’t beautiful, and it was not ‘created’ by the artist. What Duchamp did, however, was to show that the ‘choice’ of the artist is what matters. The choice of material could be by d irectly painting something, or like Duchamp, deciding from the millions of identical urinals, that specific one. Duchamp gave meaning to the urinal; art to him was all about the artist givingmeaning , or specifying a general term by showing an image. <Prelude to a broken arm> and<L.H.O.O.Q> are other ready-mades. <L.H.O.O.Q> is also famous, since Duchamp bought a cheap reproduction of the Mona Lisa and drew hilarious whiskers to it. The Mona Lisa was a symbol of traditional art, but the title Duchamp gave, L.H.O.O.Q, symbolizes the french sentence Elle a chaud au cu, meaning ‘she has a hot ass’. By this method, he was laughing at the strong belief in the firm root of traditional art.

<L.H.O.O.Q> <Fountain> <Prelude to a broken arm>

Coincidental art was discovered by the work ❤ Standard Stoppages>. It was created by dropping three white threads on canvas, and taping the random shape created by the fall. The aim and method of the coincidental art was introduced before, and this was the result of Duchamp’s numerous artistic experiments.

❤ standard stoppages>

5) Andre Breton

Andre Breton is widely known as the inventor of Surrealism, but he is significant in the transformation from Dadaism to Surrealism, so is worth introducing. He was born in Normandy, France, and had studied medicine and psychiatry. As a poet and writer, he participated inWorld War 1 and met Alfred Jarry and Jacques Vache, friends with whom he established criticism towards society.

The important job he did was to invent ‘automatic writing’ which was the initiative of the Surrealism movement and a transformed method of coincidental art. Like coincidental art, automatic writing involved luck and coincidence. The writers were supposed to write down any words that came to their minds, without any rationality involved. However, this form of art was different in a way that it promoted the discovery of unconsciousness. Discovery of unconsciousness was a specific goal of the Surrealism movement, distinct from the general ‘anti-social’ attitude of the Dadaist movement. Another achievement was writing the surrealism manifesto, the introduction to the new art movement and a separation from Dadaism.

6) Guilaume Apollinaire

Guailame Apollinaire was also a semi-surrealist poet, artist, play writer, and critic. He was born in France and worked there, constantly communicating with cubists like Picasso and Dadaists like Andre Breton. In the early 1900s he created his first poem book, L’enchanteur pourrissant, adding modernist imagery to common forms of poetry. In this period he was very influenced by symbolism. He also created calligrams, which are art created by formation of letters, and wrote several erotic novels that were banned in France for years.

Involved in the surrealism movement, he was one of the people who invented the name of ‘Surrealism’. Apollinaire, from the beginning, had acute eyes on the essence of Surrealism. That made him one of the Surrealism initiators who turned a possible new idea into a wave of artistic movement that will succeed Dadaism.

7) Dadaist artists in Berlin

Since Dadaism in Berlin shows a distinct feature than in other artists or cities, it must be separately explained. Although the general flow of Dadaism was nihilistic and anarchistic, Dadaism in Berlin developed into a highly political Avant-garde art. The Dadaists in Berlin agreed to the radical pathos of Italia’s futurism and Russia’s avant-garde art and went against the era’s prevalent mysticism. The reason why such distinct form of Dadaism developed was because Germany, as the losing nation of World War 2, were thrown in the most desperate post-war situation. In line with a new social movement to renew the nation’s wealth, German Dadaists argued for radical communism on the basis of intellectual, creative formation of a revolutionary society. The most prevalent method to argue this through art was photo-montage. The photo-montage method is where you place art, photos, and letters in one paper. This has existed from the 1890s, and were originally used by soldiers in the World War to show off their loyalty and masculinity by putting several photos of war into one piece. However artists like John Heartfield used this to create art works with vague objective, by which they expressed a sarcastic view about war. But when photo-montage was used by Dadaists, there were three main effects. First, by using photos, artists could express the dominance of photos over paintings. Second, they destroy the whole image of advertisement, thus destroying the mass culture’s view on society. Third, the art piece, instead of becoming an eternal truth of the world, actively goes into reality and criticizes it.

A prominent German Dadaist, John Heartfield loved to use photo-montage in his works. To him, the other Dadaist works that gave shock to the public was not art at all. He tried to communicate with the public through his montage about political issues. Instead of simply separating all the letters and pieces, he creates a title inside his art to give a clear story to the painting.

< John Heartfield’s photo collages>

4. Influence on later art movements

1) Surrealism

Surrealism was born on the ashes of Dadaism. As Dadaism became more and more exrtreme in destroying the concept inside art, it became like a suicidal action of art killing art. So the later part of Dadaist movement slowly changed into another significant art form, Surrealism. Invented by Andre Breton and Apollinaire, it had its aim on discovering the human sub consciousness. Deeply affected by Sigmund Freud’s theory that much of the human behavior is driven by unrealized desires and symbols residing in the unconsciousness, surrealism artists tried to show or discover these unconscious thoughts through diverse methods.

Although surrealism had a different goal with Dadaism, it inherited many expression methods and ideals from Dadaism. One significant method is automatic writing. Automatic writing, as explained above, was to reveal the unconscious thoughts inside the artists, and is another form of coincidental art that has descended from Dadaist roots. But the difference lies in the fact that surrealists treated artists as ‘shamans’ who were supposed to listen to the voices of the subliminal mind and simply interpret that on paper. Many surrealists played a game called ‘cadavre exquis’, ‘the gorgeous corpse’ in English, where one person draws or writes and the people following continue it without being able to see what the previous person wrote or drew.

<cadavre exquis> by Yves Tanguy, Joan Miro, Max Morris, and Man Rey

2) Impact on modern culture

When the aim of Dadaism was to shake and uproot the pre-existing social concepts, it seems to have succeeded. Since the emergence of Dadaism, the flow of art changed from creating beauty to creating social impact. Instead of promoting a single type of expression, the movement allowed artists to invent their own ways to convey messages to the public. Just like how citizens gained democratic rights, artists started to gain the whole right of expression. According to the research team in the University of Iowa, modern art wouldn’t have existed if not for the Dada movement.

The core mentality of modern art is on: first, deep thinking on the essence of art, and second, constant effort to destroy the existing barrier of methods and create new methods of expression. Dadaism triggered both mentality in the minds of art, by giving various answers to the first mentality and ruthlessly destroying previously set concepts of art on the second mentality. A good example would be the emergence of art forms like pop-art. Pop art reflects the capitalist society by creating copies of advertisement- like colorful images. Andy Warhol’s work of Marylyn Monroe in different colors is well known. Not only did Dadaism affect the ideas of art, the methods trickled down to artists of later eras. Ready-made art keeps appearing in the works of various artists; Tracey Emin’s <My bed> is a case where it reached the extreme. The artists simply recreated her messy bed on the gallery, like how Duchamp displayed a male urinal. In modern art this kind of displayment is called ‘Object’, in a sense that the artist ‘selects’ a certain object and tries to give a message through that, giving a new, special meaning to the previously normal object.

<My bed> by Tracy Emin

But there certainly were limits on the development of Dadaism, on several levels. First of all, Dadaism was too pessimistic that it destroyed the meaning of art, which can be called an act of suicide. Despite the limits, Dadaism is a good case that the modern society can learn from. First it showed that a single art movement can change the mentality of the whole society. Although not prevalent in everyone’s lives, art is what easily and subconsciously defines what a society thinks and considers. Dadaists were more active than that, they tried to change the world through art, instead of putting art as a material for conveying the society. In the era where massive war destroyed cities and disillusioned the dreams of thousands of young people, Dadaism was what gave ideas to give solutions to fix the cadent society. Dadaism as art was an efficient method; it was spread fast, understood easily, and gave the expected shock. Second, as mentioned above, the paradigm of art changed through Dadaism. Although diverse other movements cooperatively drove the transition towards modern art, Dadaism was the main causation of this rapid change. The viewers of art were at first shocked by the destruction Dadaism brought. But eventually, they became used to it; now they were prepared to see the emergence of other exceptional art forms like performance art without a sense of incompatibility. Artists that introduced their own perspectives on art, therefore, were accepted into the artist society without severe criticism. In other words, Dadaism opened people’s minds towards awider range of art. This acceptance was what gave growth to modern art.

<Survey>

I have interviewed 24 people on Facebook to study people’s general attitude towards modern art.

1. This painting is Marcel Duchamp. He naturally dropped three threads and marked the shapes of their lines. Do you consider this art, the first time you saw this?

yes – 20, no- 4

-> In modern society many of us are prone to seeing diverse kinds of art in life. The ‘limit’ of art has been widely expanded, and now many view radical forms of art as a valid piece as well.

2. If you think this is art, what theme would it convey to you? (There were a lot of opinions) Expression of coincidence, Mildness, The beauty of lines, Coincidence, Rebellion towards common beauty, Beauty in everyday life,

-> a lot of answers included ‘beauty’. People still generally have the thought that if something is art, it’s connected with beauty. Still, many people were not sure what theme the piece was conveying.

3. Until what limit can you accept art?

a. Picasso’s paintings

b. Splattering paint on the canvas

c. The printing of campbell soup : 5

d. A canvas all covered with black paint

e. An urinal named ‘fountain’ : 15

-> The acceptance itself towards modern art is very open. People are generally ready to accept new forms of art, but they are less ready to actually find meaning in it as shown in number 2

4. To you, what is the most important value in art?

a. Creativity : 7

b. Effect on society : 1

c. Acceptance of the public : 1

d. Conveying personal thought : 13

e. Beauty : 2

-> The majority of people think art is about conveying personal thought, or creativity.

Conclusion: In this society where diverse artistic forms are accepted as creativity, many students are ready to accept new forms of art as art. This is justified by their thought that the most important value in art is conveying personal thought and creativity; any method that achieves this concept is considered valuable. However, people find it hard to actually find some ‘theme’ or ‘meaning’ inside modern art. It is a task of modern art to develop into a more perceptible manner towards the public, because art is always a method of communication.

<Works Cited>

Chin, Joong Gwon. The Modern History of Western Art. Seoul: Humanist, 2011

Elger, Hans. Dadaism. Berlin: Taschen, 2009

Tzara, Tristan. “Some Memoirs of Dadaism.” Vanity Fair 45(1922): 70-72

Cheney, Sheldon. “Why Dada?.” The Century Magazine 28 (1922): 22

Ask.com. Dada. 3 April 2003. Shelley Esaak., Michigan. 21 May 2012 <http://arthistory.about.co

m/cs/arthistory10one/a/dada.htm>

Art In the Picture. 14 November 2005. Bruno Dillen., New York. 21 May 2012 <http:// www.

artinthepicture.com/styles/Dadaism/>