Word: dadaist
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...Kaprow explains now, was to create an intentionally sloppy, three-dimensional roomful of random art, in the abstract expressionist mode of the 1950s, when the wall-filling action canvases of Jackson Pollock were already being referred to as "environmental painting." Kaprow was also reviving and extending the then quiescent Dadaist tradition. One of his inspirations: the wondrous Merzbau assembled by German Dadaist Kurt Schwitters between 1924 and 1933. It consisted of rooms full of wood and plaster along with oddments culled from junk heaps, including a Sex-Murder Cave, which housed a red-stained bro ken plaster cast...
...Ernst show, "Works on Paper," now at the Busch-Reisinger is a connoisser's show, well organized, comprehensive, and, among other things, it reunites two important series of Ernsts works. Yet it is all too raisonne; the daring, the shock, the excitement of Ernst and the Dadaist-Surrealists seems to have escaped...
Collage, for example, was originally developed by the cubists; yet when the German Dadaist Kurt Schwitters began to build his many-splendored "Merz pictures" from old newspaper scraps, driftwood, buttons and other attic rubbish, his works took on a pathos and intimacy that more formal cubist compositions lacked. Schwitters himself always insisted that Merz was a nonsense syllable, derived from a phrase from an advertisement for the "Kommerz und Privatbank." But merzen is also an obsolete German verb connoting rejection. Both as nonsense and as nostalgia, Schwitters' handsome, 5-ft. by 4-ft. Merz Picture with Rainbow clearly foreshadows...
...values a work of art not for its mystery but for what it tells him of the artist who made it. "You sometimes wonder," he jests, "whether you are buying the art or a piece of the artist." The Bergmans' home is jammed with several generations of Dadaist and surrealist works. Some are by unknown artists, others by famous ones, who are personal friends...
...Revolt. On the top spiral at the Guggenheim are displayed the eminents who died in the 1960s but whose work still seems relevant to the post-meta physical moment: the dadaist abstractionist Arp Giacometti's existential armature figures, the dynamic welded sculpture of David Smith, and the work of Burgoyne Diller, a precursor of minimalism. Next are the old masters whose common sensibility was formulated before World War II: Picasso, Nevelson, Lipchitz, Calder. Then come two generations of artists who, in Fry's opinion, are at once trying to escape from Renaissance definitions of sculpture and "in revolt...