Abstract
The Dada art movement was about using protest, confrontation and chaos in the arts as a way to change an unjust society recovering from the horrors of World War I. By explaining the origins of the Dadas and looking at their most famous sculpture, "The Spirit of Our Time," this essay explains how the Dada artists were making direct challenges to modern culture and technology long before it was fashionable.

From the Paper
"By the late 19th century machine technology was everywhere, available to millions, and part of humanity's daily existence. The products of machines, such as giant structures and trains, planes, and automobiles, were infinitely more "useful" to people than traditional art had ever been. Some artists became envious of scientists and wanted to match their achievements, and some scientists wanted to be thought of as artists."

Tags:hausmann, modern, artist, science, machine, world, war, one, raoul, technology, humanity

Abstract
This paper presents a discussion on the Dada manifesto by Tzara Tristan in 1918. The author of this paper discusses the general purpose of the Dada manifesto as well as analyzes what various parts of it may mean to the readers. It also summarizes the possible thoughts and meaning of the author of the manifesto as well.

Abstract
This paper is a short history of the Dada and Surrealist Movements within Europe from the First world to the Second World War. A history of its artists and motivations are included with the text for an illumination of their perspective.

Abstract
This paper describes Dadaism and Surrealism, and the integration of the two known as the Dada Surrealist Movement. The writer explains how these movements arose during the World Wars and that the combined movement effectively demonstrated in various media of the visual arts and writing the end of "civilization" as it was manifest until the World Wars. The writer also discusses what is meant by the concept of "chance" in art, and how chance was viewed by Dada artists as minimally controlled randomness, and by the surrealists as a way to access the unconscious and let it merge with the conscious in order to create the superior reality it so revered. The writer concludes that in both art movements, chance therefore played an integral role in the emergence of their respective philosophies.

Outline:
Introduction
Chance in Dadaism
Surrealism
The Element of Chance

From the Paper
"According to Harden, the Dada and Surrealist movements integrated to such an extent that they became known as the Dada Surrealist Movement. The initial aims of the Movement were far removed from the world of art, and were primarily political in nature. Being a response to the World Wars of the time, the Dada Surrealist Movement aimed to overthrow all that viewed itself as "civilized" . Indeed, this aim was focused primarily on art and the role its interpretation played in the civilized world. Ironically then, first Dada and then Surrealism sought a complete separation of art and its influences as it existed at the time. This can be seen as ironic, as both Dada and Surrealism are seen as recognized art forms today, with its influences and trappings for the contemporary artist; the very paradigm Dada Surrealism wished to overthrow."

Tags:beauty reality culture icon ideal freedom, Max Ernst, Jackson Pollock, paradigm political

Abstract
The paper examines the life of Helmut Herzfeld, who changed his name to John Heartfield as a pro-British statement during the Nazi period. The paper analyzes his works, including his technique of photo-montage. The paper further describes how he was pursued by the Nazis and escaped to Prague and later to London. The paper further describes his winning of the German peace prize.

From the Paper
"Born to a writer, Franz Heartfield, John lost his parents in 1898. His mother was a trade union activist and a textile worker. In 1896, the Heartfields were forced to run away from Germany and hence went to Switzerland. John was enrolled in a school but he soon left it at the age of fourteen and ended up working for a bookseller in Weisbadenl. During 1907, John Heartfield became an assistant to the famous painter Wieland Herzfelde. About a couple of years later after becoming interested in arts, John Heartfield enrolled into the Munich College of Arts and Crafts. In 1912 John Heartfield started working as a commercial artist in Mannheim till 1913 when he moved to Berlin where his teacher was Ernst Neuman at the Arts and Crafts school in Charlottenburg."

Tags:Hitler, Dada, Berlin, A.I.Z, socialism, WWII, Weimar

From the Paper
"Critics refer often to literary movements, citing different movements that have developed in literature and then been replaced by some other movement. Generally, the term is not defined, and instead it is simply assumed that everyone is talking about the same thing when the term is used. ... offers a definition that is too simple to be more than a beginning: "A term commonly applied to a trend or development in literature". ... definition contains the necessary elements, but they are not fully explained. The important word in his definition is "trend" rather than "development," for the latter is too unspecific and could refer to a literary device or idea used by one writer. A literary movement must be a trend, meaning that it is subscribed to by a number of writers who make use of the ideas and techniques that ... "

Abstract
This paper argues that although art may irrelevant in the face of material loss and personal grief brought on by war, it serves an important role as a medium of expression for war-torn people's sentiments and protests, ultimately bringing them hope and unifying them.

Outline:
The interaction between art and war
Art's role in expression and protest
The role of Dada art and the Dadaists in World War I
The artists role in expression and protest

From the Paper
"Historians have reported the devastating effects of war by means of a variety of measurements. For example, books and periodicals may state the number of lives lost or the range of the area ruined. News articles usually indicate the monetary value of properties destroyed. Another cost of war, one that is more difficult to measure, is the personal or emotional cost. This includes the grief, sorrow and suffering of victims who have experienced human and material loss, the conflict and hatred between opposing groups, and anger and misery brought about by the desecration of others. This kind of loss is seldom reported, but it leaves the most piercing and lasting mark.
"Art is one of the most powerful mediums used to illustrate human suffering and conflict (Hernandez, 2000). Some of the greatest artworks on human suffering were created by artists inspired by, or who have lived through, times of war. The role of these works is in meeting the human and political needs of communication and recognition (Motherwell, 1989). Art responds to the conflict and, at the same time, helps the viewer understand the experiences of war-torn individuals."

Tags:dada, picasso, goya, paintings, artistic

Abstract
This paper discusses how WWI greatly affected the direction of art in the United States and Europe. It looks at how, through isolating and merging different regions, artistic movements were both born and terminated as a result of warring, allied forces, and personal trauma. The paper examines how Futurism, Fauvism, Cubism, Vorticism, and German Expressionism were active when WWI began and examines the development of both European and American Modernism with such styles as Harlem Renaissance and other Postwar movements in Europe such as De Stijl, Bauhaus, Constructivism, Purism, New Objectivism, Dada, and Surrealism. The paper also contains images and pictures.

From the Paper
"The shift of the art world capital from Paris to New York City had begun towards the end of WWI. Although many European artists fought in the war first-hand, "No American modernist painter saw the carnage of WWI first-hand, nor did any American artist record feeling in its aftermath. " America became aware of its dependence on Europe after WWI and gained a new sense of independence through forging the Allied victory. In postwar America, subject matter was rooted a newfound nationalism and self-identification as a country. Pride in technology and innovation added to a new nationalist spirit, led to the American movements of Regionalism and Precisionism. Regionalism included distinctly American scenes such as Grant Wood's American Gothic (image 4). The Precisionists possessed a faith in American industry and stability after America proved itself in war. The movement included Charles Sheeler (image 5) and Charles Demuth (image 6). Their works emphasize a new alienation and isolation in being uniquely American. "

Tags:futurism, fauvism, cubism, expressionsim, modernism, dada, surrealism

Abstract
This paper emphasizes the history of the Dada movement and its effects on Surrealism, with an emphasis on photography. The paper explores artists such as Max Ernst, Miller, Man Ray, and Salvador Dali and looks at ways in which they used photography in their artwork. The paper also examines the different techniques of photography and its effect on 21st century art.

From the Paper
"In the years after World War I, both Dadaists and Surrealists made wide use of photographs as a source of visual ideas and as a physical component in collages. But even then photo-collages were not new, other artist had used them in the 19th century. However, the first photo-collages which were clearly used for serious artistic purposes were assembled by members of the various Dada groups that were formed in Switzerland and Germany during World War I."

Tags:Brassai, Magritte, Grafitti

Abstract
This paper will discuss the ideas of Russian futurism that was so prevalent in the Russia at the beginning, and the middle of the 20th century. By realizing the contributions of some of its authors, a look at the language of Zuam will be analyzed, as well the literature that so powerful in setting this example for Russian culture. By arguing for a lapse in the final stages of a Russian utopia, we can see how this artistic was a valued one, but held secondary to the Dada Movement and other radical elements in the time that held greater sway in their influence.