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In the 1920s no one could have foreseen that Raoul Hausemann, a founder of the Berlin Dada movement, would one day become interested in the traditional habitat of Ibiza, in architecture, ethnography and documentary photography. This book traces the remarkable transition of an artist who retreated from the avante-garde paths he had marked out in order to look at man and his primordial activities: song, poetry and the construction of his house. It describes the exacting research work that the Dadaist-artist pursued on the island.

Mobile cart features maintenance-free laminated surfaces on all exteriors and interiors including edges. Cart offers 4" satin-finish wire pulls, hinged door and high-impact polystyrene drawer interior with rounded inside corners in one 5-1/2" deep drawer. Use 17" wide x 17-1/2" deep top laminate surface to keep important supplies accessible. Cart moves on 2-1/2" twin wheel hooded swivel nylon casters and holds up to 180 lb.

Footstool features an anti-skid, treaded step that measures 14" x 11". Durable steel construction has a powder-coat finish. Heavy-duty steel tubular legs have safety tips.

Treatment cabinet features high-pressure laminate top. The one laminate drawer moves on nylon-rollers for smooth opening and closing. The all-laminate interior includes one shelf.

Durable, functional overbed table features simple "one touch" adjustment to lower or raise the top from 28" to 45" high. The 30" x 15" top offers a walnut laminate with black edging to provide a smooth, easy-to-clean surface. Table also has a steel frame for durability and base with a black, powder-coat finish and four 1-1/2" hooded casters for easy movement.

Durable, functional overbed table features simple "one touch" adjustment to lower or raise the top from 28" to 45" high. The 30" x 15" top offers an oak laminate with black edging to provide a smooth, easy-to-clean surface. Table also has a steel frame for durability and base with a black, powder-coat finish and four 1-1/2" hooded casters for easy movement.

Mobile computer workstation offers a versatile, portable and efficient way to maximize your working areas. Simply pull up this desk to any chair or exam table, and you're ready to work. Workstation features a pneumatic lift with 360-degree ring hand control to raise the height from up to 36". Durable five-star, black composite base is equipped with hooded dual-wheel casters that lock for easy mobility and stability. The laminate worksurface does not rotate and offers plenty of space for portable electronics and equipment. Store frequently used supplies in the 2" drawer underneath the worksurface. Desk area also features 3mm high-impact edging.

Durable, functional lamp features a height-adjustable rod with gooseneck arm and chrome reflector. Height-adjustable, plated steel rod includes a 12" long gooseneck arm and adjusts lamp from 30" to 58-1/2" high. Stationary, heavy-plated steel base is weighted for a secure footing. Design also features inner and outer shade and a three-prong, grounded plug. Lamp uses 60-watt bulb (sold separately). UL listed.

Raoul Hausmann (1886–1971) is remembered primarily for the central role he played in Berlin Dada with his assemblages, photomontages and optophonetic poems. Raoul Hausmann: Photographs 1927–1936 presents a comprehensive study of Hausmann as a photographer during the interwar years.Beginning in 1927, while living in Germany, Hausmann became an avid, restless photographer―picking up the camera particularly during his stays at the North Sea and Baltic coasts. Forced into exile in Ibiza by the rise of the Nazi Party, Hausmann's photos focused on the local populace and vernacular architecture in his temporary home until he was forced to emigrate again in 1936. It was in this intense ten-year period, surveyed in this volume, that Hausmann would develop an individualized photographic style, simultaneously documentary and lyrical, and reflect extensively on the medium.

Raoul Hausmann (1886–1971) is remembered primarily for the central role he played in Berlin Dada with his assemblages, photomontages and optophonetic poems. Raoul Hausmann: Photographs 1927–1936 presents a comprehensive study of Hausmann as a photographer during the interwar years.Beginning in 1927, while living in Germany, Hausmann became an avid, restless photographer―picking up the camera particularly during his stays at the North Sea and Baltic coasts. Forced into exile in Ibiza by the rise of the Nazi Party, Hausmann's photos focused on the local populace and vernacular architecture in his temporary home until he was forced to emigrate again in 1936. It was in this intense ten-year period, surveyed in this volume, that Hausmann would develop an individualized photographic style, simultaneously documentary and lyrical, and reflect extensively on the medium.

In the 1920s no one could have foreseen that Raoul Hausemann, a founder of the Berlin Dada movement, would one day become interested in the traditional habitat of Ibiza, in architecture, ethnography and documentary photography. This book traces the remarkable transition of an artist who retreated from the avante-garde paths he had marked out in order to look at man and his primordial activities: song, poetry and the construction of his house. It describes the exacting research work that the Dadaist-artist pursued on the island.

Book is in NEW condition. 0.66

As one of the protagonists of the Berlin Dada movement, Hannah Höch railed against tradition and conservatism in 1920s Germany. Höch and such cohorts as George Grosz and Raoul Hausmann raised anarchic revolution through cutting photomontage, nonsensical performance, and biting visual satire. A singular and important work in the artist's oeuvre is the so-called "Sammelalbum," which she produced and pasted together from found imagery for her own pleasure and use, circa 1933. In it, she arranged a choice selection of newspaper and magazine photographs cut from popular German magazines of the time, such as the Berliner Illustrirte and Der Dame. A diverse, allusive group of images they are, representing everything from her favorite film stars to oddly captured animals and toy dolls, nudes, landscapes, scenic travel vistas and synchronized dancers. By combining the collected pictures in continuous and sometimes contradictory sequences and double-page spreads, Höch created startling and often jarring photo collages. Never before published, Album can be considered to represent a heretofore unknown aspect of Höch's work, since its style of collage differs strongly from her well-known photomontages. This publication presents the entire Album in an exquisite facsimile reproduction, maintaining the filmic quality of its order and layout. In an accompanying essay, Gunda Luyken considers the content and history of the Album, locating it in the wider context of Höch's oeuvre.

The story – beautifully-written and acutely observed – of the painter Bonnard and his relationship with his model Marthe – later his wife.Stepping from the pavement onto the Boulevard Hausmann on that December morning in 1893, she was Marie, a farmer’s daughter from the Midi. Rescued from the tumult and the commotion of horses and carriages, she was escorted to the far side of the avenue by a diffident young artist named Pierre Bonnard. When at last they spoke, she introduced herself as Marthe de Máligny, aristocratic daughter of Italian parents. It was as Marthe that she would, for fifty years, be Bonnard’s lover and his muse, she could come to define his very palette. There are no nudes in Bonnard’s work before Marthe. Afterwards, her body, perched naked above a mirror of water, at her toilette, or in the languor after lovemaking would dominate his work. In a hundred and fifty paintings and more than seven hundred sketches, Pierre Bonnard would chronicle light falling onto Marthe, by happy chance, forever nude. It would be almost forty years, on the eve of their marriage, before Bonnard discovered that Marthe was Marie.In impressionistic, jewel-like sketches, poet and novelist Guy Goffette conjures the artist and his model; the radiant colours, the sensual shapes and forms of Bonnard’s genius. Forever Nude is an homage, a love letter, an impassioned record of the artist who wanted only to present himself to the young painters of the year 2000 with the wings of a butterfly his own maxim: Art will never be able to exist without nature.From the Hardcover edition.

For the Berlin Dadaists, their identity as a collective―Club Dada, to members―was an integral part of their artistic practice. But the circumstances that brought together the likes of George Grosz, John Heartfield, Raoul Hausmann, and Johannes Baader―renamed Propaganda Marshall, Monteurdada, Dadasoph, and Oberdada within the organization―have remained largely unexamined until now. Drawing on extensive archival research, this book documents the group's beginnings in wartime Berlin and reveals how these relationships influenced its provocative acts, which were inextricably tied to the era's chaos and brutality.   Studying how the Dadaists saw themselves as a new generation―in contrast to their pacifist forebears, the Expressionists―the book sheds light on key developments and events, such as the First International Dada Fair, held in Berlin in 1920. It also offers the first serious consideration of the group's role in constructing its own legacy, even as the works were deliberately rooted in the ephemeral.

Edited with an introduction by Richard Kostelanetz. SBN 87690-007-4. ** Poetic imagery, artful poetry, concrete poetry, and beat wordsmithing by Claes Oldenburg, Raoul Hausmann, Herb Lubalin, John Cage, Gary Indiana, William Copley, Allan Kaprow, Merce Cunningham, and others. Edited with an introduction by Richard Kostelanetz. 112 pages; 73 full-page or full-spread b&w illustrations; 8 x 10 inches. Artist biographies.

A compilation of concepts by architectural theorists, including (among others) Kurt Schwitters, Raoul Hausmann, Erich Buchholz, Buckminster Fuller, Claes Oldenburg, Gerhard Ruhm, and Dennis Oppenheim.

For the Berlin Dadaists, their identity as a collective―Club Dada, to members―was an integral part of their artistic practice. But the circumstances that brought together the likes of George Grosz, John Heartfield, Raoul Hausmann, and Johannes Baader―renamed Propaganda Marshall, Monteurdada, Dadasoph, and Oberdada within the organization―have remained largely unexamined until now. Drawing on extensive archival research, this book documents the group's beginnings in wartime Berlin and reveals how these relationships influenced its provocative acts, which were inextricably tied to the era's chaos and brutality.   Studying how the Dadaists saw themselves as a new generation―in contrast to their pacifist forebears, the Expressionists―the book sheds light on key developments and events, such as the First International Dada Fair, held in Berlin in 1920. It also offers the first serious consideration of the group's role in constructing its own legacy, even as the works were deliberately rooted in the ephemeral.

A central figure in the Berlin Dada circle, friend to Kurt Schwitters and Piet Mondrian and lover of Raoul Hausmann, Hannah Höch (1889-1972) is probably the most important female artist from the German modernist period. She is best known for her pioneering works of photomontage, which briskly juxtapose mechanical and organic forms, ancient and contemporary bodies, symbols and text drawn from brands and headlines, also edging feminism, commodity critique and other political concerns into the mix. "It is striking how contemporary to us much of Höch's work feels," Luc Sante wrote recently, "in its sexual politics, its humor, its gleeful appropriation of anything and everything at hand." In 1945, Höch made this fantastical full-color children's book, which chronicles the adventures of the four mythical creatures Runfast, Dumblet, Snifty and Meyer in an enchanted garden, combining photomontage with the hallucinatory plant imagery she had come to favor. It is published here for the first time.

An excellent survey of excellent work with photographs by Bayer, Bellmer, Blossfeldt, Feininger, Gutmann, Hausmann, Jacobi, Kepes, Lerski, List, Moholy-Nagy, Regner-Patzsch, Sander, Salomon, and more. Compiled with text by Van Deren Coke. 59-page essay with text illustrations followed by 108 full page b&w photographic plates; 9 x 10.75 inches. Chronology, bibliography and artist biographies.