6A: Dada and the Politics of Mass Media
- Long, “Dada,” 262 – 278.
- George Grosz and Wieland Herzfelde, “Art is in Danger (1925),” Dadas on Art, ed. Lucy Lippard (Englewood Cliffs, NJ: Prentice-Hall, 1971), 80 – 85. (Please use PDF page #s for citations.)
- Hal Foster, “1920” in Art Since 1900, ed. Hal Foster (New York: Thames & Hudson, 2004), 168 – 173.
- Maud Lavin, “The Berlin Dada Photomontages,” Cut with the Kitchen Knife: The Weimar Photomontages of Hannah Höch (Yale University Press: 1993), 13 – 46.
- Key Themes
- Hannah Höch visualized the hypocrisies of Weimar gender equality in photomontage;
- Her turn to mass media was a shared impulse;
- Nevertheless, she made works that tended to be metaphorical and replete with ambivalence.
- Key Themes
- Sue Taylor, "Heartfield's Photo-Grenades," Art in America (June/July 2006): 156 - 161.
- Wieland Herzfelde, “Introduction to the First International Dada Fair” (1920), commentary and translation by Brigid Doherty, October, 105 (Summer 2003): 93 - 104.
- Brigid Doherty, “The Work of Art and Problem of Politics in Berlin Dada,” October, 105 (Summer 2003): 73 - 92.