Scope and Contents

Auction catalogue. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents The etchings were made by Villon and the text based upon 1920's text written by Crotti. Born in Bulle, Switzerland, Crotti first studied painting in Munich when he was eighteen, and after a year under Jules Lefevre at the Academie Julian in Paris, he abandoned formal instruction. He exhibited regularly at the Salon des Independants beginning in 1908, at the Salon d'Automne from 1910 and Salon des Tulliers in 1927. The critical event of his artistic career was his arrival in June 1915 in New York, where he worked closely with Marcel Duchamp, joined the New York Dada group, and met Picabia. Crotti produced mechanical drawings, wire constructions, and collages on glass and metal. Returning to Paris in 1919, he married Suzanne Duchamp. Together in July 1921 they launched a new movement, Tabu-Dada (apparently inspired by Picabia), which Crotti described as the expression of "Mystery...That which cannot be seen...That which cannot be touched." In Crotti's Tabu work, spheres and sectors...

Scope and Contents

In addition to artworks, the catalogue includes extensive descriptions of Dada and Surrealism periodicals. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

Auction catalogue. Included an outstanding Dada collage by Hausmann, "Dada -- Cino" (1920); it was inscribed to Kurt Schwitters and was extensively documented. An exquisite corpse by Yves Tanguy, Jeanette Breton and Andre Breton was offered for sale. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

Auction catalogue. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents In the words of David A. Ross, director of the Whitney Museum, "This exhibition proposes that as important as Dada was to the growth of American modernism, the ferment of New York played an equally critical role in the continuing evolution of Dada itself." He points out that even though Dada evolved in Zurich and Berlin, few immigrant notions were more quickly or deeply absorbed into American culture, because "American art, like America itself in the beginning of the century, was experiencing an analogous social, intellectual, and moral transformation, and the spirit and purpose of Dada provided a much needed catalyst." The Dada activity in New York centered around the Arensbergs, Duchamp, Picabia and Man Ray. When asked to define Dada, Man Ray echoed the words of Tristan Tzara and said that Dada was a state of mind. Unlike the artists in Europe, the Dadists in New York were driven by a conscious sense of irony, amusement, and genuine sense of humor. Selected chapters of this...

Scope and Contents

This a facsimile of a letter from Marcel Duchamp to Jean Crotti in 1918 regarding the making of a wall sculpture. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

This book was edited by William A. Camfield & Jean-Hubert Martin.It is focused on the works of its two proponents, Suzanne Duchamp & Jean Crotti. It contains several reproductions of poems from "Courants d'air sur le chemin de ma vie," by Crotti & Villon, a book that is held by the Sackner Archive. (pp 15, 32, 92). -- Source of annotation: Marvin or Ruth Sackner.