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TYPE 2

APRIL CHEUNG TERM 2 // SPRING 2014 CARLA BARR


WEEK 1 ONE SIZE 9 PT GROTESQUE MT LIGHT ONLY

1


NGA Dada: 1916-1923

Zurich Berlin New York Paris

Leah Dickerman

Kurt Schwitters Marcel Duchamp Tristan Tzara Laszlo Moholy-Nagy Man Ray Francis Picabia


NGA Dada: 1916-1923 Zurich

Berlin

New York

Paris

Leah Dickerman

Kurt Schwitters

Tristan Tzara Marcel Duchamp

Man Ray Laszlo Moholy-Nagy

Francis Picabia


NGA Dada: 1916-1923

Berlin New York Zurich Paris

Leah Dickerman

Kurt Schwitters

Marcel Duchamp

Man Ray

Tristan Tzara

Laszlo Moholy-Nagy

Francis Picabia


NGA

Dada: 1916-1923 Zurich

Berlin

New York

Paris

Leah Dickerman

Kurt Schwitters Marcel Duchamp Laszlo Moholy-Nagy

Tristan Tzara Man Ray

Francis Picabia


Marcel Duchamp Tristan Tzara Laszlo Maholy-Nagy Francis Picabia Man Ray Kurt Schwitters

Leah Dickerman

Dada: 1916-1923

NGA

Zurich

Berlin

New York

Paris


Dada: 1916-1923

Berlin New York Paris Zurich

Francis Picabia Man Ray Laszlo Moholy-Nagy Kurt Schwitters Marcel Duchamp Tristan Tzara

Leah Dickerman


Leah Dickerman

Dada: 1916-1923

Zurich Berlin New York Paris

Marcel Duchamp Tristan Tzara Laszlo Moholy-Nagy Francis Picabia Man Ray Kurt Schwitters

NGA


WEEK 2 ANY SINGLE PT SIZE GROTESQUE MT LIGHT ONLY

2


Dada: 1916-1923 Berlin New York Paris Zurich

Kurt Schwitters Marcel Duchamp Tristan Tzara Laszlo Moholy-Nagy Man Ray Francis Picabia

Leah Dickerman


Dada: 1916-1923 Berlin

New York

Francis Picabia Man Ray Laszlo Moholy-Nagy Kurt Schwitters Marcel Duchamp Tristan Tzara

Leah Dickerman Paris

Zurich


Dada: 1916-1923

Berlin New York Paris Zurich

Leah Dickerman Francis Picabia Man Ray Laszlo Moholy-Nagy Kurt Schwitters Marcel Duchamp Tristan Tzara


Dada: 1916-1923 Leah Dickerman Kurt Schwitters Laszlo Moholy-Nagy Francis Picabia Marcel Duchamp Man Ray TristanTzara

Paris Zurich Berlin NewYork


Dada: 1916-1923 Berlin Zurich New York Paris Kurt Schwitters Marcel Duchamp Tristan Tzara Laszlo Moholy-Nagy Man Ray Francis Picabia

Leah Dickerman


Dada: 1916-1923 Leah Dickerman Man Ray Kurt Schwitters Marcel Duchamp Francis Picabia Laszlo Moholy-Nagy Tristan Tzara Par is Zur ich Ber lin New Yor k


Dada: 1916-1923

Berlin New York Paris Zurich

Kurt Schwitters Marcel Duchamp Tristan Tzara Laszlo Moholy-Nagy Man Ray Francis Picabia

Leah Dickerman


WEEK 3 ANY SINGLE PT SIZE GROTESQUE MT LIGHT AND BOLD ONLY

3


Leah Dickerman

DADA: Berlin New York Paris Zurich

1916 - 1923 Tristan Tzara Laszlo Moholy-Nagy Francis Picabia Marcel Duchamp Man Ray Kurt Schwitters


Leah Dickerman Berlin New York Paris Zurich DADA: 1916 - 1923 Tristan Tzara Laszlo Moholy-Nagy Francis Picabia Marcel Duchamp Man Ray Kurt Schwitters


Berlin New York Paris Zurich Leah Dickerman DADA: Tristan Tzara Man Ray Laszlo Moholy-Na Francis Picab Marcel Duchamp Kurt Schwitte 1916 - 1923


Berlin New York Paris Zurich Leah Dickerman DADA: Kurt Schwitters 1916 - 1923 Tristan Tzara Man Ray Laszlo Moholy-Nagy Francis Picabia Marcel Duchamp


Berlin New York Paris Zurich DADA: 1916 - 1923 Tristan Tzara Laszlo Moholy Francis Picab arcel Ducham Man Ray Kurt Schwitter


Berlin New York Paris Zurich

dada: 1916 1923 Leah Dickerman

Tristan Tzara Laszlo Moholy-Nagy Francis Picabia

Marcel Duchamp Man Ray Kurt Schwitters


Leah Dickerman DADA: 1916 Berlin New York Paris Zurich 1923 Tristan Tzara Laszlo Moholy-Nagy Francis Picabia Marcel Duchamp Man Ray Kurt Schwitters


WEEK 4 ANY SINGLE PT SIZE GROTESQUE MT LIGHT, ROMAN, BOLD, ITALIC

4


D A D A 1916-1923 Leah Dickerman Marcel Duchamp Tristan Tzara Laszlo Moholy-Nagy Francis Picabia Man Ray Kurt Schwitters

Berlin New York Paris Zurich


Berlin New York Paris Zurich

DADA 1916-1923 Leah Dickerman

Marcel Duchamp Tristan Tzara Laszlo Moholy-Nagy Francis Picabia Man Ray Kurt Schwitters


Berlin New York Paris Zurich Leah Dickerman DADA 1916-1923 Marcel Duchamp Tristan Tzara Laszlo Moholy-Nagy Francis Picabia Man Ray Kurt Schwitters


Berlin New York Paris Zurich

1916-1923

DADA

Marcel Duchamp Tristan Tzara Laszlo Moholy-Nagy Francis Picabia Man Ray Kurt Schwitters

Leah Dickerman


DADA 1916-1923 Berlin New York Paris Zurich Marcel Duchamp Tristan Tzara Laszlo Moholy-Nagy Francis Picabia Man Ray Kurt Schwitters Leah Dickerman

DADA


DADA 1916-1923 BerlinParis ZurichNew York Leah Dickerman Duchamp Marcel D Tzara Tristan Tzara s Picabia Francis Pic n Ray Man Ray Man oholy-Nagy Laszlo M chwitters Kurt Schw DADA


DADA 1916-1923

Berlin

New York

Zurich

Leah Dickerman Marcel Duchamp Tristan Tzara Laszlo Moholy-Nagy Francis Picabia Man Ray Kurt Schwitters

Paris


WEEK 5 ANY SIZE COMBINATION GROTESQUE MT ENTIRE FAMILY

5


DADA

Marcel Duchamp

Tristan Tzara Laszlo Moholy-Nagy Francis Picabia Man Ray Kurt Schwitters

1923

1916-192

DAD DADA Berlin New York Paris Zurich

1916Leah Dickerman


Leah Dickerman Marcel Duchamp Tristan Tzara

D A D A

Laszlo Moholy-Nagy Francis Picabia

1916-1923 Man Ray

Kurt Schwitters

Berlin

New York Zurich

Paris


DADA 1916-1923 Berlin New York Paris Zurich

Marcel Duchamp Tristan Tzara Laszlo Moholy-Nagy Francis Picabia Man Ray Kurt Schwitters

Leah Dickerman


DADA 1 9 1 6 1 9 2 3

Marcel Duchamp Tristan Tzara Laszlo Moholy-Nagy Francis Picabia Man Ray Kurt Schwitters Berlin New York Paris Zurich

Leah Dickerman


Marcel Duchamp Tristan Tzara Laszlo Moholy-Nagy Francis Picabia Man Ray Kurt Schwitters

DADA 1 9 1 6 1 9 2 3

Berlin New York Paris Zurich

Leah Dickerman


Marcel Duchamp Tristan Tzara Laszlo Moholy-Nagy Francis Picabia Man Ray Kurt Schwitters Berlin New York Paris Zurich

1916 1923

DA DA


D

A

Berlin New York Paris Zurich

D A 1916-1923

Leah Dickerman Marcel Duchamp Tristan Tzara Laszlo Moholy-Nagy Francis Picabia Man Ray Kurt Schwitters


WEEK 6 ANY SIZE COMBINATION GROTESQUE MT RULES, BLOCKS, CIRCLES

6


Leah Dickerman

DADA

1916 - 1923 Marcel Duchamp Tristan Tzara Laszlo Moholy-Nagy Francis Picabia Man Ray Kurt Schwitters

Berlin New York Paris Zurich


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DA 1916 - 1923 Berlin New York Marcel Duchamp Tristan Tzara

Paris Zurich

Laszlo Moholy-Nagy Francis Picabia Man Ray Kurt Schwitters

Leah Dickerman

DA


Berlin New York Paris Zurich

Marcel Duchamp Tristan Tzara Laszlo Moholy-Nagy Francis Picabia Man Ray Kurt Schwitters

Leah Dickerman

1916 - 1923

DADA:


61 19 23 19

Leah Dickerman

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Marcel Duchamp

Man Ray

w Ne Be rli n

Francis Picabia

Pa ris

Laszlo Moholy-Nagy

Yo r

Tristan Tzara

Kurt Schwitters

DADA


Leah Dickerman

Berlin New York Paris Zurich

Marcel Duchamp Tristan Tzara Laszlo Maholy-Nagy Francis Picabia Man Ray Kurt Schwitters

1916 - 1923

DA DA


WEEK 7 POSTER DESIGN GROTESQUE MT ADD ONE COLOR

7


Leah Dickerman

DADA:

1916 - 1923

Berlin New York Paris Zurich Marcel Duchamp

Tristan Tzara

Francis Picabia Man Ray

Laszlo Moholy-Nagy

Kurt Schwitters


rlin or k e B wY Ne ris Pa rich Zu

: A D 3 n 2 A a 9 m r 1 D6 -Dicke

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DADA: Leah Dickerman

1916 - 1923 Berlin New York Paris Zurich

Marcel Duchamp Tristan Tzara Laszlo Moholy-Nagy Francis Picabia Man Ray Kurt Schwitters


DADA: Leah Dickerman

1916 - 1923 Berlin New York Paris Zurich

Marcel Duchamp Tristan Tzara Laszlo Moholy-Nagy Francis Picabia Man Ray Kurt Schwitters


Berlin

New York

Paris

Zurich

DADA:

1916 - 1923

Marcel Duchamp Tristan Tzara Laszlo Moholy-Nagy Francis Picabia Kurt Schwitters Man Ray


Leah Dickerman

DA DA

Marcel Duchamp Laszlo Moholy-Nagy Tristan Tzara Francis Picabia Kurt Schwitters Man Ray

1916 - 1923

Berlin New York Paris Zurich


6

1 9 1

3 2 19 ara

gy a N

z lyT o n ah a a t is lo M cabi mp r T sz is Pi cha a L nc l Du a r F rce y rs e t a a M n R wit h Ma t Sc r Ku

Berlin New York Paris Zurich

Leah Dickerman

A DA D


WEEK 8 FULL COVER DESIGN GROTESQUE MT COLOR, TEXT

8


Tristan Tzara Marcel Duchamp Kurt Schwitters Laszlo Moholy-Nagy Francis Picabia Man Ray

DADA:

1916 - 1923

Leah Dickerman

Berlin New York Paris Zurich


DADA:

1916 - 1923

Leah Dickerman

Berlin New York Paris Zurich

Marcel Duchamp Tristan Tzara Laszlo Moholy-Nagy Francis Picabia Man Ray Kurt Schwitters


DADA: 1916 - 1923 Leah Dickerman

Berlin New York Paris Zurich

Tristan Tzara Laszlo Moholy-Nagy Francis Picabia Marcel Duchamp Man Ray Kurt Schwitters


Leah Dickerman

Berlin New York Paris Zurich

DADA 1916 - 1923

Marcel Duchamp Tristan Tzara Laszlo Moholy-Nagy Francis Picabia Man Ray Kurt Schwitters


DADA

1916 - 1923

Ne w

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Pa ris

ch i r Zu

p Ducham Marcel Trist an T z

ara

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Leah Dickerman

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Laszlo Moholy-Nagy Francis Picabia

Man Ray Kurt Schwitters

DA

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Marcel Duchamp Tristan Tzara

lin Ber rk o Y New is Par h ic Zur

Leah

an erm

Dick


WEEK 9 FULL COVER DESIGNS GROTESQUE MT COLOR, TEXT

9


DADA

be d ia ise ed po , m s al rn isi cr ion de t l o i a d m tu ra de ec ft ing A l l o . g e d er ain pe int ion em at d ha om l n s n d o lf. a vi as fa se its al e h t o r i d h t k mo an ye if e st oc m nl of ei nd sh r u d i a t e e n ed od mo th ple me ,m al fm im t nd c o r s i mo a a ff ct r a ly nta stu wa of ive no s t ' e f n p d o r th da ce an bo er Da rt de om s st r a f a f s a i o w d t t is dis ct en ble da e ha ff e m m th e e Da e W v e n s. ss mo ee On rie ea e . o b tw h t re rt t eg l tu igh fo ca m e cu c t s ti ar mi t is at re ar h p t y; ing ur fin nt e ec th

r, e ld i w

NGA

e o a W ha ,s br of om t c ay m ,c s s e d o y d e t o i t ts ar ad ry al .I or u em m t n s p h y t io d en lue em in at ea va nt ec ,r nd pe o h d e t u c o e r g fo of pt on Eu bla re cy ce a of m ce a c t e y n a g r s e e e t a u as gl ou he , th e, infl ab t in en g t he s t a h s e la lt nt in ism at ica mo da t ic 3/4 re d , e p g n t e a e ke gu ea ag .R th cr ss ks oll Be d u c n s a o a od ed eh pr uc ra av e th ia lud t. h d c m e en y in d a m t m n a ve ha nd am st ,a mo ad e e i e D c g t an ard ha rm t-g ot n fo s a av ch ny mu a f to ar

LEAH DICKERMAN

e b 5 , 91 1 b r ..� gs u t n er use. enni p e, onf my H k c Em o , v h o d pr eat ll an to to d o Ba t n e Hug l a ed w tick lay p s ls i e ria ad e d W se, t a t ema ,D a w rI tra e a e s n W eri th “t of ld ep or ,w ce nc


6 1

3

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19

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n rli e rk B Yo w Ne ris Pa h ric u Z

an

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Leah Dickerman

NGA

3 to sk ids s gun ous m e c e B . It u h t ra ues n l i d a e e v y and rop pla ed dis ept als i c r a c d a te egDa ut ma g l n w abo i e t n m las i th of cis e, w d a ce e a m t r b co rea ge, em to s c olla ry d c u o t th ded cen dyme clu rea the n i f t o d ge, tha acy , an bla es e i m c g e n a at e ass ey rm st r , th rf o e, n e g e p a h nt nce al t uch mo cha dic a , om s R s e . , d the nks day ma pra l to had a a i n e of d t hav at io me , ay en und s m o i f om cris ada are m of tD a a h r l t e a so of st tu rg a c e n s e r ll di em ne bo te e O n n s i h a e . t a w re od n of d u e t n a m k l e a l ar ad oc cu tw a l l h D e c a s d b ia ti na or an d ed ac he tio m t t e t i m r d n. is a d s ai ra s a' rn t po i an m e d t a of ar ve do od D ha o w n s m d m “g of . W d it tio an t he la in es n t i c o e a r i r at fe v pl fo th go m ef e m e ; u e i e i t y s th is th ed ca ur y m t is l c m e m n e ti t, pr ce t iv fro tis g ar p e d n e i n e th c bl fin no de ed m de e p s i a s A t as sh en e s b a m ht th ig ye tm ar

DADA

, RB , U 15 9 RT ATH 1 E s P ing E, O DE n K n T O He OV CKLE y R m P m TI TO ASE, dE n T a l N TE Bal WA ER, o E D uug f E “ W WIL SE...” H o rt I, BE hea FU ar e W N h d t orl CO iin fW ept /4


DADA

Leah Dickerman

1916 - 1923

MARCEL DUCHAMP TRISTAN TZARA LASZLO MAHOLY-NAGY FRANCIS PICABIA MAN RAY KURT SCHWITTERS

BERL IN NEW YORK PARI S ZURI CH


NGA

nnin gs

my H e

nd E m Beg un 3 /4 in the Wor hear ld W t of ar I, Euro Dad abou pe i a t ac disp n th cept l a em y e e d d va rials idst r a ucou lues and of . Its s sk met e e hods pt ic mbr cent ism ace ury crea of n to c t ed ew m a las ome colla , wi at et ing ge, m th s lega ont a t r c a y cepe t egi ge, a of th es t rform ssem e hat ance blag i nclu they e, re , an ded d m adym are foun edia ades dat i p may , r chan anks onal have . Ra toda had dica y, so the g r ar y l t m h en, uch ar t o reat so t est i f any hat nflu avan D e ada nce t-ga on c rde ont e mov mpo eme nt. -

Leah Dickerman

“W E BEW WANT TO ILD CO NFU ER, TE PROV ASE O SE. ..� , TIC KE, P ER KLE TO TURB DEA , Hug TH o Ba , ll a

1915

DADA

Dad a wa s bo rn o tual fam cris ome is, p nt o o i sed the f mo betw shoc ral a k of een nd in the d an e One t elle isas mer eff e cg t er o ct of ing f wa mod Dad of tr r e a a rn m adit 's t a nd iona edia ct ica l ar t l c non m u l o i t st ic ure. -ar t, de is ca t e med the v gori ium i ise f o l e at io and s. W or th n its d hat e mo oma is a vem has r i t n . e a Ad shap nt is nd efin ed t dece ing p he c pt iv bled r e eme ly s ntur f rom impl y; th the s e an at a tuff rt m d ye of m ight t oder be a n lif s sem e its elf.


BER L NEW IN PAR YORK I ZUR S ICH

DADA MARCEL DUCHAMP

LASZLO MAHOLY-NAGY

MAN RAY

TRISTAN TZARA

FRANCIS PICABIA

KURT SCHWITTERS


DADA

1916 - 1923

Dada was born of a moment of moral and intel-

war and the shock of an emerging modern media culture. One effect of Dada's tactical mode is the violation of traditional artistic categories. What is art and non-art, medium and its domain. A defining premise for the movement

LEAH DICKERMAN

lectual crisis, poised between the disaster of

is deceptively simple and yet has shaped the century; that art might be assembled from the stuff of modern life itself.

Begun 3/4 in the heart of Europe in the midst of World War I, Dada displayed raucous skepticism about accepted values. Its embrace of new materials and methods created a lasting legacy of the century to come, with strategies that included collage, montage, assemblage, readymades, chanceperformance, and media pranks. Radical then, they are foundational today, so much so that Dada may have had the

avant-garde movement.

NGA

greatest influence on contemporary art of any


MARCEL DUCHAMP TRISTAN TZARA LASZLO MAHOLY-NAGY FRANCIS PICABIA MAN RAY KURT SCHWITTERS

LEAH DICKERMAN

DADA

Berlin New York Paris Zurich


HUGO BALL AND EMMY HENNINGS 1915

DADA

“ WE WANT TO PROVOKE, PERTURB, BEWILDER, TEASE, TICKLE TO DEATH, CONFUSE...�

Hugo Ball and Emmy Hennings 1915

Dada was born of a moment of moral and intellectual crisis, poised between the disaster of war and the shock of an emerging modern media culture. One effect of Dada's tactical mode is the violation of traditional artistic categories. What is art and non-art, medium and its domain. A defining premise for the movement is deceptively simple and yet has shaped

Begun 3/4 in the heart of Europe in the midst of World War I, Dada displayed raucous skepticism about accepted values. Its embrace of new materials and methods created a lasting legacy of the century to come, with strategies that included collage, montage, assemblage, readymades, chanceper-

Leah Dickerman

the century; that art might be assembled from the stuff of modern life itself.

formance, and media pranks. Radical then, they are foundational today, so much so that Dada may have had the greatest influence on contemporary art of any avant-garde movement.

NGA


Leah Dickerman

DADA:

1916 - 1923 BERLIN NEW YORK PARIS ZURICH

MARCEL DUCHAMP TRISTAN TZARA LASZLO MAHOLY-NAGY FRANCIS PICABIA MAN RAY KURT SCHWITTERS


WEEK 10 FULL COVER DESIGNS GROTESQUE MT ADD PHOTOGRAPHY

10


“WE WANT TO PROVOKE, PERTURB, BEWILDER, TEASE, TICKLE TO DEATH, CONFUSE...� Hugo Ball and Emmy Hennings

LEA

DICKE

1916 -

Dada was born of a moment of moral and intellectual crisis, poised between the disaster of war and the shock of an emerging modern media culture. One effect of Dada's tactical mode is the violation of traditional artistic categories. What domain. A defining premise for the movement is deceptively simple and yet has shaped the century; that art might be assembled from the stuff of modern life itself.

Begun 3/4 in the heart of Europe in the midst of World War I, Dada displayed raucous skepticism about accepted values. Its embrace of

DADA

is art and non-art, medium and its

new materials and methods created a lasting legacy of the century to come, with strategies that included collage, montage, assemblage, readymades,

chanceperformance,

and media pranks. Radical then, they are foundational today, so much so that Dada may have had the greatest influence on contemporary art of any avant-garde movement.

NG


AH

ERMAN

DADA

- 1923

GA

BERLIN NEW YORK PARIS ZURICH

MARCEL DUCHAMP TRISTAN TZARA LASZLO MAHOLY-NAGY FRANCIS PICABIA MAN RAY KURT SCHWITTERS

LEAH DICKERMAN


DADA

Dada was born of a moment of moral and intellectual crisis, poised between the disaster of war and the shock of an emerging modern media culture. One effect of Dada's tactical mode is the violation of traditional artistic categories. What is art and non-art, medium and its domain. A defining premise for the movement is deceptively simple and yet has shaped the century; that art might be assembled from the stuff of modern life itself.

HUGO BALL AND EMMY HENNINGS 1915

LEAH DICKERMAN

“ WE WANT TO PROVOKE, PERTURB, BEWILDER, TEASE, TICKLE TO DEATH, CONFUSE...�

Begun 3/4 in the heart of Europe in the midst of World War I, Dada displayed raucous skepticism about accepted values. Its embrace of new materials and methods created a lasting legacy of the century to come, with strategies that included collage, montage, assemblage, readymades, chanceperformance, and media pranks. Radical then, they are foundational today, so much so that Dada may have had the greatest influence on contemporary art of any avant-garde movement.

NGA


DAD A 1916 - 1923

BERLIN MARCEL DUCHAMP TRISTAN TZARA

NEW YORK Y-NAGY LASZLO MAHOL FRANCIS PICABIA

PARIS MAN RAY KURT SCHWITTERS ZURICH LEAH DICKERMAN


disaster of war and the shock of an emerging modern media culture. One effect

DADA

Dada was born of a moment of moral and intellectual crisis, poised between the

of Dada's tactical mode is the violation of traditional artistic categories. What is art and non-art, medium and its domain. A defining premise for the movement is deceptively simple and yet has shaped the century; that art might be assembled from the stuff of modern life itself.

Hugo Ball and Emmy Hennings

Begun 3/4 in the heart of Europe in the midst of World War I, Dada displayed rau-

LEAH DICKERMAN

“WE WANT TO PROVOKE, PERTURB, BEWILDER, TEASE, TICKLE TO DEATH, CONFUSE...�

cous skepticism about accepted values. Its embrace of new materials and methods created a lasting legacy of the century to come, with strategies that included collage, montage, assemblage, readymades, chanceperformance, and media pranks. Radical then, they are foundational today, so much so that Dada may have had the greatest influence on contemporary art of any avant-garde movement.

NGA


DA DA 1916 - 1923

AN

RM

KE

AH

C DI

LE

MARCEL DUCHAMP TRISTAN TZARA LASZLO MAHOLY-NAGY FRANCIS PICABIA MAN RAY KURT SCHWITTERS

BERLIN NEW YORK PARIS ZURICH


DADA

“WE WANT TO PROVOKE, PERTURB, BEWILDER, TEASE, TICKLE TO DEATH, CONFUSE...�

Hugo Ball and Emmy Hennings

Dada was born of a moment of moral and intellectual crisis, poised between the disaster of war and the shock of an emerging modern media culture. One effect of Dada's tactical mode is the violation of traditional artistic

main. A defining premise for the movement is deceptively simple and yet has shaped the century; that art might be assembled from the stuff of modern life itself.

LEAH DICKERMAN

categories. What is art and non-art, medium and its do-

Begun 3/4 in the heart of Europe in the midst of World War I, Dada displayed raucous skepticism about accepted values. Its embrace of new materials and methods created a lasting legacy of the century to come, with strategies that included collage, montage, assemblage, readymades, chanceperformance, and media pranks. Radical then, they are foundational today, so much so that Dada may have had the greatest influence on contemporary art of any avant-garde movement.

NGA


1916 - 1923

BERLIN NEW YORK PARIS ZURICH

MARCEL DUCHAMP TRISTAN TZARA LASZLO MAHOLY-NAGY FRANCIS PICABIA MAN RAY KURT SCHWITTERS

DA DA

LEAH DICKERMAN


Hug o Ball and Em

my Hennings 191 5

BERLIN

moral f o t n me en f a mo o n betwe r d o e b s i s wa s, po k of an Dada c l crisi a o h u t s c the t elle ne ar and and in w f ture. O o l r u e c t a s sa edi he the di e is t ern m d d o o m m ing t ical at ego emerg 's t ac c a c i d t a ar t is of D m ional t i ef f ect d mediu a , t r t r f a o r non ion ise fo violat t and r m a e r s p i hat ning ple ries. W A defi . n ly sim i e a v i m t o p sd ece hat and it t is d ury; t t n n e e m c ove f the e stuf the m aped h h t s m s f ro et ha mbled e and y s s a ght be elf. ar t mi if e its l n r e d of mo

NEW YORK

LEAH DICKERMAN

ERTURB, P , E K O V O O PR ATH, E D O WE WANT T T E L K C EASE, TI T , R E D L I W E B CONFUSE...�

PAR IS

ZUR ICH

DADA

Begun 3/4 in t he hea midst r t of Eu of Wor rope in l d W the a raucou r I, Da da disp s skep t icism layed values about . Its em a ccept e brace d and m of new ethods m a t erials creat e cy of t d a la he cen s t i n g lega tury to egies t come, hat inc w i t h luded stratassem collage blage, , m ont age readym forman , ades, c ce, and h a n c epermedia then, t pranks hey ar . R e foun adical much s dat ion o that al toda Dada m y, so great e ay hav st infl e h uence ad the ar t of a on con ny avan t e mpora t-garde ry movem ent.

NG


GA

D A 1916 D A 1923

MP

HA DUC

EL C R MA TRISTAN TZARA FRAN CIS P ICABI A Y A MAN R KURT SCHWITTERS LASZLO MOH OLY-NAGY

LEAH DIC

KERMAN


CUT AND PASTE ANY SIZE COMBO GROTESQUE MT ALL WEIGHTS

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