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Preface and Acknowledgments | 6 | |
Introduction | 8 | |
1 | Proto-Dada | 12 |
2 | The Arensbergs | 22 |
3 | Marcel Duchamp | 34 |
4 | Francis Picabia | 56 |
5 | Man Ray | 76 |
6 | The Arensberg Circle | 94 |
Albert Gleizes and Juliette Roche | 96 | |
Jean and Yvonne Crotti | 100 | |
Edgard Varese | 105 | |
Henri-Pierre Roche | 109 | |
Beatrice Wood | 112 | |
Clara Tice | 117 | |
Charles Sheeler | 121 | |
Morton Schamberg | 126 | |
Charles Demuth | 130 | |
John Covert | 134 | |
Joseph Stella | 142 | |
The Stettheimer Sisters | 148 | |
Katherine Dreier | 155 | |
Arthur Cravan and Mina Loy | 162 | |
Baroness Elsa von Freytag-Loringhoven | 168 | |
7 | The Independents | 176 |
8 | New York Dada | 192 |
9 | Aftermath | 212 |
Notes | 224 | |
Selected Bibliography | 244 | |
Index | 250 | |
Photograph Credits | 255 |
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Add New York Dada: 1915-23, For about ten years, beginning with the Armory Show in 1913, New York City was host to the odd-sounding accents and queerer-looking paintings and constructions of a mixed bag of European and American avant-gardists. Besides the inscrutable figure of artis, New York Dada: 1915-23 to the inventory that you are selling on WonderClubX
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Add New York Dada: 1915-23, For about ten years, beginning with the Armory Show in 1913, New York City was host to the odd-sounding accents and queerer-looking paintings and constructions of a mixed bag of European and American avant-gardists. Besides the inscrutable figure of artis, New York Dada: 1915-23 to your collection on WonderClub |