t 60 <strong>Schwitters</strong> painted pictures in accordance with his impressions (of nature) which gave them an expression. The so-called artistic expression is the transmission of a merely subjective impression. The artists of that period who were devoted to ‘New Art’, such as <strong>Schwitters</strong>’ friend Jean Arp, however, aimed at producing art preferably without subjective or personal expression. For art exists without the artist, it exists as primordial concept. <strong>Schwitters</strong> consistently progresses with this approach and not only does he declare himself unessential, but also the material which is used to create art. What is essential, however, is the artistic and formative process, which, in accordance with <strong>Merz</strong> theory, he finds in the measuring and adjusting of different materials. 16 ARTISTIC LOGIC One year later, <strong>Schwitters</strong> publishes the “Tran No. 22” in Der Sturm (13. Jahr, no. 5, 1922). “Tran” is a collection of <strong>Merz</strong>poems, published as a direct and personal answer to critics of his artistic work from 1919 to 1924 that had appeared in various magazines. Tran No. 22 titled Tragödie (tragedy), an answer to the critique written by Dr. phil. et med. Weygandt, contains insertions and advertising slogans that also advertise <strong>Merz</strong>. One of them – “Klebekraft (Adhesive force) protected by law, in powdered form, can glue leather, cloth, cardboard, etc.; 1st quality; (very ropy) abundant.” – <strong>Schwitters</strong> merzes him in his critique: “If phil. is referring to art history, then Mister Weygandt disarmed himself with this academic title. Adhesive force, very ropy, these terms do not apply to the art historian.” 17 The art historian could be seen as rather dull or reserved, unable to connect people with his analyses and words and, hence, has to rely on the authority of his academic titles in order to attract the demure attention of the reader. He seems to succeed, although the critic adorns himself with labels, which he can only live up to with deception, but not with the actual discipline, the subject he pretends to write about: “You trust in the belief in authority among the German people and you write a seemingly scientific article for the people, but not for science.” 18 <strong>Schwitters</strong> comes to this conclusion not only because he has more knowledge of art theory, but also because he assumes that the art historian uses the wrong system, the wrong logic for his interpretation of art. Thus, <strong>Schwitters</strong> puts the essential issue of esthetic theory and art theory in a nutshell. The critic applies a ‘mind driven logic’ to the interpretation of pieces of art. He tries to understand the piece, to examine its comprehensibility, as if the work of art were trying to tell us something that could be justified with rational logic. The mind, however, is one means to experience and form the world. <strong>Schwitters</strong> contrasts mind driven logic with artistic logic. A piece of art, art itself, follows the artistic logic. Critics and art scholars search for the ‘meaning’ of an artist’s work and wish 16 Ibid., p. 4 17 “Tran No. 22”, ibid., p. 74 18 Ibid., p. 77
t The consequence of DADA: MERZ · by Adrian Notz 61 t <strong>Kurt</strong> <strong>Schwitters</strong>, <strong>Merz</strong> 21. Eine kleine Sammlung von <strong>Merz</strong>-Dichtungen aller Art. Erstes Veilchen Heft, <strong>Merz</strong>verlag, Hanover 1931
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“In part spurred by Rauschenberg
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115 artists. In the wake of this co
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“I think I could do well in the U
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Letter from Kurt Schwitters to Kath
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together with Alfred Barr and the c
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exhibition in the Pinacotheca Galle
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and gallerist Peggy Guggenheim, who
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collectors and leading institutions
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he also designed the catalogue: a p
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NR: Tell me, Damien, when did you f
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as important as Marcel Duchamp. DH:
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NR: So what happened to the house?
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“Imitation remains imitation. Imi
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Kurt Schwitters, Auwiese, 1920, new
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Hausmann, and Hannah Höch, all of
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In November, Schwitters publishes M
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several weeks later becomes dictato
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exhibition catalogue. In November 1
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Original Recordings by Kurt Schwitt
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Collage/Collages from Cubism to New
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1, 3, and 4. Ed. Perdita Lottner. E
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The Nelson Atkins Museum of Art, Ka
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