mind map

automatic actions
of the norm
surrealism
assemblages
deformed
making sense out of no sense
consequences
feedback
judgment
final outcome
automatic drawings

elsa von freytag-loringhoven

Early Life

She started of studying art in Duchau, near Munich, before marrying in 1901, Berlin based architect, August Endell at which time she became Else Endell. She had and open relationship with her husband, and in 1902 she became involved romantically with a friend of Endell's the minor poet and translator Felix Paul Grove (who later became the Canadian author Frederick Phillip Grove), And all three went to Palermo in late January 1903. They then moved to various places, including Wollerau, Switzerland and Paris-Plague France. In 1906 She and Grove returned to Berlin, where they were married on August 22 1907. In July 1910, she followed Grove to North America, where they operated a small farm in Sparta Kentucky, not far from Cincinnati, Ohio. Grove eventually left in 1911, and went west to Bonanza farm near Fargo, North Dakota, and came to Manitoba in 1912. She started modelling for artists in Cincinnati, and made her way east West Virginia and Philadelphia, Before she married her third husband, the German Baron Leopold Von Freytag- Loringhoven in November 1913 in New York. There she became known as the Dadaist Baroness Else Von Freytag- Loringhoven.


Poetry

She was given a platform for her poetry in The Little Review, Where starting in 1918. Her work was featured alongside chapters of James Joyce's Ulysses. Jane Heap considered the Baroness "The first American Dada" She was an early Female pioneer of sound poetry. But also made creative use of the Dash, While many of her portmanteau compositions, such as Kissambushed and Phalluspistol, miniature poems. Most her poems remained unpublished until the publications of body Sweats.


Collage, Performance and Assemblages

non sequitur

Non Sequitur

an inference that does not follow from the premises; specifically  :  a fallacy resulting from a simple conversion of a universal affirmative proposition or from the transposition of a condition and its consequence

feminist manifesto

Mina Loy

Mina loy worked as a poet and visual artist in Paris, Florence, and New York City, where he beauty and outlandish behaviour shone at the centre of several avant-grade circles. She made colourful appearances of biographies of many other writers and artists. Including Marcel Duchamp, Djuna Barnes, James Joyce Marianne Moore and Gertrude Stein.

She was born in London December 27th, 1882. She attended a conservative art school and was influenced early on by impressionism. She achieved some success as a painter. Her paintings were displayed in the prestigious Salon d'Automne show in Paris 1905. She moved to the united states in 1916. Although her reputation preceded her, while hailed representing "The New Women"and the last word in modern verse, Loys poetry disturbed a few of her more conservative contemporaries. Marianne Moore found herself uneasy in Loys company. Jon Collier cited Loys verse as an example of the need for "objective Standards". Still she had many admirers like Marcel Duchamp, William Carlos Williams, and the members of the New York Dada group, including the Poet/Boxer Arthur Cravan home she married in 1918.

Being an artist Mina Loy was also labelled a Futurist, Dadaist, Surrealist, Feminist, Conceptualist, Modernist, Post-Modernist, Experimenting with media in her artwork she moved from oil to ink by world War one then lighting fixtures in the lat 1920s, and finally to sculptures featuring items collected from the streets and garbage cans of Manhattan. She hailed herself with her visual art more than her writing claiming that at the end of her life that she"never was a Poet".

She was a, poet, playwright, novelist,futurist, actress, Christian scientist, feminist, model, nurse, designer of lamps, and bohemian. She was one of the last of the first generation modernists to achieve posthumous recognition. 

Carolyn Burke

surrealist manifesto

symbolist manifesto

Harley Gallery

artists
Rachel Wood- Ceramicist
Simon Mount- Furniture
Steve Handley- Furniture
Phil Neal- Sculpture
Ashley Thomas- Pattern Designer


Phill Neal talk

modelling wax
acrilyic material
medical prospects
worked for bbc making monsters for doctor who
red dwarf
bsb sky 1980-1990s
life casting
used the same techniques but had a different line of outcome
toilet role advert
Fur fabric
pereditiors- athlete paul
polystyrene, tin foil, wax
latex foam
cylian rubber
community projects- dragonfly sculpture for a primary school
camalot
freelance sculpture
technique- Harry, computer
plastering
worked with selvester saloan making gun props

propaganda in the art industry

humour
shows creativeness
impressive set of skills for life
you can be unique and not boring
something to be passionate about
expressing yourself
everything u see started of with an idea and a sketch
great connections in the art industry for new discoveries
opens up many suprising job roles
new experiences
colour
bold
exciting
be yourself
home made
experimental
product design
teacher
freelance
fashion
prop design
film maker
illustrator
graffic designer
art therapist
architecture
pottery
furniture design

John Heartfield

photomontage and dada.

anti Nazi photomontage

How the photomontage art of John Heartfield, a contemporary and friend of Brecht, warned the world of the rise of Nazism.

In the 1930s the Nazis were gaining ground in Europe. Many chose to ignore or had a Laissez faire attitude to the national socialist policy of expansionism, known as Lebensraum or the threat of war that Germany now posed to the world. John Heartfield ( above, doing Hitler's hair), A German citizen born Helmut Herzfeld, was one who chose to criticize the regime through art. He produced a remarkable series of photomontages (decades before Photoshop ) The audacity of which can still astonish today.

Blood and Iron

Bismarck had stated that the German people would be reformed through a combination of blood and iron. Heartfield's 1939 photomontage shows exactly how this was to be interpreted in reality. Heartfield had always been a reactionary when it came to German Nationalism. Born 1891 as Helmut Herzfeld he saw the true horrors of the first world war first hand. Although propaganda was rife and rabid on both sides he made the extraordinary move of anglicising his name in 1916, in the middle of the war, to protest against such nationalism.

Hitler prepares to kill the French cockerel

Although some of his work may seem a little primitive in them days of Photoshop, the meaning of Heartfields 1939 work is as sharp as the knife that the dictator is holding. The caption jokes ironically around Hitler's vegetarianism, The French Foreign Minister is seen to be unperturbed at the sharpening of knifes. After all Hitler did not eat meat. Of course by this time Heartfield had to remove himself from Germany (in fact at the beginning of the Nazi Regime) as his sort of political satire would no doubt have earned him a visit in the night and a trip to a concentration camp. He left Germany in 1933, the year Hitler came to power and relocated to nearby Czechoslovakia. Perhaps a little too close for comfort.

Kaiser Adolf

The real motive for Hitler's stranglehold on political power in the thirties was something that was utterly transparent to Heartfield, Here he gives Hitler the emperor's old clothes and upturned moustache to reveal that power had simply changed hands and nothing had changed in democratic terms. As left wings socialist. Heartfield was diametrically opposed to the extreme right wing nationalism (Nazism) that swept Germany.(Although it borrowed policies from both left and right wing). It was after founding a satirical magazine, Die Pleite, that he met Brecht. Later he would work for the weekly A/Z (published in exile, of course, this sort of thing would never have been allowed inside the Fatherland). It was A/Z that he produced most of his photomontage work. 

The butter is gone

As the caption on the card says, this is bitterly satirical and based on the words of Goring in 1935. Hermann Goring. One of the potentates of Nazi Germany, said during a food shortage that Iron has always made a nation strong, butter and lard have only made the people fat. If one of the politicians were to say that today there would probably be a riot but satire like this was one of the few ways to injure the regime. possibly Heartfields most famous work. this family attempts to eat the various weapons fo war that have been built instead of the butter that should have been on their table. The swastika wallpaper in the background is a particularly deft touch and shows how the regime permeated all aspects of even domestic life.

The German oak tree

The oak tree is watered by the environmentally aware Hitler. However, what it produces is shells and iron helmets marked with swastikas. As potent an image about how the ideals of a nation will become perverted from the top politically, the oak tree is Germany- watered instead from the bottom. This was produced in 1939 by which time Heartfield had felt it necessary to retreat from his adopted host nation of Czechoslovakia. Soon after, he made it to England and lived in Hampstead, London, for the duration of the war.  

 Fathers and Sons, 1924 gelatin silver print of photomontage. Akademie der Künste, Berlin, Kunstsammlung

The Middle Ages and the Third Reich

With reference to the medieval torture instrument, the wheel, Heartfeild skilfully adapts the swastika (itself an image accosted and misused by the Nazis) to the picture what was happening to the German people under the "guidance "of Adolf Hitler and his cronies. some might say that this image of suffering is somewhat generous to the German people. portraying them as the victims of Nazism but once Hitler had secured absolute power for himself and with no way of democratically or governmentally relieving him of his position ( as was the case with Mussolini in Italy) then victims is exactly what they were.