Search Results for Raoul Hausmann

... both expressionist artists who struck a noncommercial pose and cultural reformers who argued for a synthesis of art and industry. © 2017 by New German Critique, Inc. 2017 Tristan Tzara Richard Huelsenbeck Raoul Hausmann marketing publicity References Anonymous . 1919...

.... Benson has argued, Friedländer’s philosophy was key in formulating the Berlin dadaists’ ideas of the “new man” and of the “new community” (Raoul Hausmann and Ber- lin Dada [Ann Arbor: UMI Research Press, 1987 Thomas O. Haakenson 121 Some scholars have...

... in dada an!” was used by a number of Berlin Dadaists. See, e.g., Raoul Hausmann, L’inconnu Raoul Hausmann (1919), and Hausmann and Johannes Baader, Angekarte (1919), two interrelated postcard montages that use fragments of this phrase (Eva Züchner et al., Der deutsche Spiesser ärgert sich: Raoul...

.... Andrés Mario Zervigón 7 Groß [sic] sniffs the air Parbleu! Here it smells of roasted children.6 With this reading came the suggestion of an olfactory assault that paralleled the tactile and aural attacks. By the time the poet and artist Raoul Hausmann began reading his “New Materials...

.... Together with Ludwig Mies van der Rohe, Naum Gabo, Hans Richter, Raoul Hausmann, Ruttmann, and Benjamin, Stone participated in the magazine G-Material für elementare Gestaltung. In 1924 he opened his studio on the Kurfürstendamm, and he soon made a reputation as the photographer of the New Vision...

... and Suprematism at the Van Diemen Gallery in Berlin, and from that point on kept in close contact with figures such as László Moholy-Nagy and Lissitzky.22 Buchholz’s Berlin studio was a meeting place for artists of the avant-garde, including Hannah Höch, Kurt Schwitters, Richard Huelsenbeck, and Raoul...

...” photomontages of Raoul Hausmann, and by Fritz Lang’s Metropolis . 67 In the visual culture of the later Weimar period, by contrast, cybernetic imagery increasingly projected a technocratic, and authoritarian, myth of progress, notably in the work of reactionary modernists such as Ernst Jünger. 68 Mia...

..., are there any rules in fi lmmaking? “Non, Monsieur le directeur, there aren’t,” the cameraman Raoul Coutard says in response to the director Jerzy in Jean-Luc Goddard’s Passion (1980)—one of the fi rst of a series of Goddard fi lms that breaks practically every rule in fi lm and rede- fi nes what “fi lm” can...

... century it was the Berlin Dadaists (Hannah Höch and Raoul Hausmann, along with Heartfi eld and George Grosz) who took credit based on their respec- tive encounters during World War I with the souvenirs and correspondence of German soldiers, which were laden with photographic fragments.6...