Defining Characteristic Of Berlin Dada ; A Vital Interwar Period Movement

1424 Words Oct 14th, 2015 6 Pages
Photomontage is a defining characteristic of Berlin Dada; a vital interwar period movement, which primarily took place between 1915 and 1924. Although photomontage is associated with the interwar period, it undoubtedly had a monumental influence on the fine arts well after it’s initial collective disbanded, which included figures such as John Heartfield, Hannah Hoch, George Grosz, Kurt Schwitters, and Raoul Hausmann. In fact, even celebrated post-war and contemporary artists, such as David Hockney, Jerry Uelsmann, and Robert Rauschenberg, continued to express themselves through this specific medium of cut and paste photography and print clippings. That being said, as early as the late 1920s, as is true for many emerging forms of expression in the visual arts throughout history, there were public dissenters who believed the process of photomontage was exhausted and no longer novel or imperative to art history’s future or as commentary on contemporary life.

This essay focuses on an important counter argument and short history of photomontage by none other than Raoul Hausmann, a key forefather of the Berlin Dada movement. Hausmann also wrote respected commentaries on, what was at the time, contemporary art, indeed relevant to the history of art as a whole. The focus for this essay, Hausmann’s 1931 published work simply

entitled Photomontage, was originally written in German and printed in the journal a bis z, a Cologne radical art journal started by…
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