Dawn Ades. Dada and Surrealism Reviewed. London: Arts Council of
Great Britain, 1978.
Hans Bollinger, et al. Dada in Zurich. Zurich: Kunsthaus Zurich, 1985.
Walter Benjamin. Art in the Age of its Mechanical Reproduction is
a translation of Das Kunstwerk im Zeitalter seiner technischen
Reproduzierbarkeit: drei studien zur Kunstsoziologie.
Frankfurt/Main: Suhrkamp Verlag, 1963.
Walter de Maria's Lightning Field project was carried out with the support of the Dia Art Foundation, which bought the land and maintains and allows for limited public access to the work. As the prototypical example of land-art, this lattice of lightning rods covers an area of one mile by one kilometer. Filled with 400 rods placed equidistantly, the lightning field is the interplay between precision and randomness. During the storm season in New Mexico, the work is brought to life by many bolts of lightning. The artist explained that "Light is as important as lightening." Indeed, during its 24-hour cycle, the field goes through a continuous metamorphosis. Nature and art interact in fascinating ways.
Christo's latest work was entitled Wrapped Reichstag, Berlin, July 1995. Regarding Christo's many ambitious projects, some references are:
Erich Himmel, Editor. Christo. The Pont-Neuf Wrapped, Paris 1975-1985. New York: Abrams, 1990.
Christo: The Umbrellas. Joint project for Japan and the USA, 25
May - 24 June, 1988. London: Annely Juda Fine Art, 1988.
Christo: Surrounded Islands. Köln: DuMont Buch Verlag, 1984. Christo: Wrapped Walkways, Loose Park, Kansas City, Missouri, 1977-1978. New York: H.N. Abrams, 1978.
Christo: Valley Curtain, Riffle, Colorado. New York: H.N. Abrams, 1973.
The Bauhaus, a school of arts and crafts, founded in 1919 in Weimar, by Walter Gropius. Its significance results from the philosophy of education expressed in the Bauhaus program, to which distinguished artists contributed, and from the impressive number of people who, after studying at the Bauhaus, affirmed its methods and vision in worlds of art, architecture, and new educational programs. Among the major themes at Bauhaus were the democratization of artistic creation (one of the last romantic ideas of our time), the social implication of art, and the involvement of technology. Collaborative, interdisciplinary efforts were encouraged; the tendency to overcome cultural and national boundaries was tirelessly pursued; the rationalist attitude became the hallmark of all who constituted the school. In 1925, the Bauhaus had to move to Dessau, where it remained until 1928, before it settled in Berlin. After Gropius, the architects Hans Mayer (1930-1932) and Mies van der Rohe (1932-1933) worked on ascertaining the international style intended to offer visual coherence and integrity. In some ways, the Bauhaus was continued in the USA, since many of its personalities and students had to emigrate from Nazi Germany and found safe haven in the USA.