Early Moderns: Dada and More

HESE SOURCES relate to Dadaists, Futurists, and a variety of (mostly European) artists active in the 1930s. Yes, I know it’s a very arbitrary grouping. The main artists here are Hannah Höch, Beatrice Wood, Tamara De Lempicka, and Carol Rama, if that’s any help.

Akademie der Künste. Hannah Höch: Collagen aus den Jahren 1916–1971. Akademie der Künste, Berlin, 1971.

Annely Juda Fine Art. The Twenties in Berlin. London, 1978.

Beatrice Wood: Drawings and Ceramics. Amerika Haus, Cologne, 1990.

Berghaus, Günter. “Dance and the Futurist Woman: The Work of Valentine de Saint-Point (1875–1953),” Dance Research 11, no. 2 (Autumn 1993), 27–42.

Blumenkranz-Onimus, Noëmi. “Les femmes dans le futurisme Italien,” Opus International no. 88 (Spring 1983) 10–15.

Breeskin, Adelyn D. Romaine Brooks. Smithsonian Institution Press, Washington DC, 1986.

De Lempicka-Foxhall, Kizette (as told to Charles Phillips). Passion by Design: The Art and Times of Tamara De Lempicka. Abbeville Press, New York, 1987.

Field, Andrew. Djuna: The Life and Times of Djuna Barnes. G.P. Putnam’s Sons, New York, 1983.

Fossati, Paolo, curator. Carol Rama. Umberto Allemandi & C., Turin, 1989.

Foster, Stephen C., ed. Dada/Dimensions. UMI Research Press, Ann Arbor, 1985.

Institute for Foreign Cultural Relations. Hannah Höch 1889–1978 Collages. Trans. Eileen Martin. Institute for Foreign Cultural Relations, Stuttgart.

Kamiya, Gary. “100 Years of Attitude,” Image (July 11, 1993), 32–33.

Katz, M. Barry. “The Women of Futurism,” Woman’s Art Journal 7, no. 2 (Fall 1986–Winter 1987), 3–13.

Kuenzli, Rudolf E., ed. New York Dada. Willis Locker & Owens, New York, 1986.

Levi, Corrado. “Del come da un registratore in casa di Carol Rama uscirono cose straordinarie con un incontro a sorpresa,” Domus (March 1985), 32–7.

________. “Well-defined and Vulnerable Organisms: the Art of Carol Rama,” Arts Magazine 65, no. 5. (January 1991) 54–7.

Mann, Vivian B., ed. Gardens and Ghettos: The Art of Jewish Life in Italy. University of California Press, Berkeley and Los Angeles, 1989.

Naumann, Francis. “The Big Show: The First Exhibition of the Society of Independent Artists,” Artforum 17 (2/6/79), 34–39.

Nelson, W.H. De B. “Aesthetic Hysteria,” International Studio (June 1917), cxxi–cxxv.

Nemser, Cindy. “Conversation with Isabel Bishop,” Feminist Art Journal 5, no. 1 (Spring 1976), 14–20.

Néret, Gilles. Tamara de Lempicka. Translated by Michael Scuffil. Benedikt Taschen Verlag GmbH, Cologne, 1992.

Nin, Anais. “San Francisco: Beatrice Wood,” Artforum 3, no. 4 (January 1965), 47.

Oakland Museum. Intimate Appeal: The Figurative Art of Beatrice Wood. Oakland Museum, Oakland, and the Craft and Folk Art Museum, Los Angeles, 1990.

Ohff, Heinz. Hannah Höch. Deutsche Gesellschaft für Bildende Kunst, Berlin, 1968.

“Pleasing Indelicacies,” Art Digest 9 (November 1, 1934), 15.

Rainbird, Sean. “London, Goethe Institute: Hannah Höch,” The Burlington Magazine 129, issue 1012 (July 1987), 478.

Roditi, Edouard. “Interview with Hannah Höch,” Arts Magazine 34, no. 3 (December 1959), 24–29.

Ruhmer, Eberhard. Hanna Nagel. Bruckmann, Munich, 1965.

Seigal, Judy. “Beatrice Wood,” Women Artists News 12, no. 4–5 (Fall–Winter 1987), 9–11.

Stanley, Don. “She Remembers Dada,” LA Times Magazine (5 October 1986), 20.

“Tamara de Lempiska [sic],” Beaux-Arts: Chronique des Arts et de la Curiosité 8, no. 6 (June 1930), 23.

“Tamara de Lempicka,” Beaux-Arts: Chronique des Arts et de la Curiosité 9, (May 1931), 23–5.

“Tamara de Lempicka,” Beaux-Arts: Chronique des Arts et de la Curiosité 9, (June 1931), 22.

Tashjian, Dickran. Skyscraper Primitives: Dada and the American Avant-Garde, 1910–1925. Wesleyan University Press, Middletown, CT, 1975.

Vergine, Lea, curator. Carol Rama. Gaabriele Mazzota, Milan, 1985.

Wood, Beatrice. I Shock Myself. Chronicle Books, San Francisco, 1988.

Obituary Note, Clara Tice. AB Bookman’s Weekly 51 no. 8 (1973), 571.

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