Dada Art Galleries:

Who-Ha Dada Art Galleries | Art Galleries for Dada Works

Who-Ha Dada Art Exhibitions | Exhibitions of DaDa Art Works



The Creativity Centre
c/o Resource Centre,
76-80 Isledon Road,
N7 7LB

DADA Art Bar
2470 Broadway
Denver, CO 80205

Berlin Gallery

National Art Gallery of Australia
Parkes Place, Parkes, Canberra ACT 2600



Gallery of PetarDobrović
36/IV Kralja Petra St., 11000 Belgrade
phone: +381 11 2622 163

400 E. 57th St 19B New York, NY 10022

Scottish National Gallery of Modern Art

  • 75 Belford Road, Edinburgh, EH4 3DR

Konrad-Adenauer-Straße 30-32
Stuttgart, German
Closed unto April 2016


Dadaism in Australia

Dadaism In Australia | Dada Art In Australia

Dada Artists In Australia | Dada Artists Resumes Australia


It's 1916 and the First World War is boiling over. Artists, writers and entertainers despair. The anything goes political agitation of Dada rapidly turned into a vehicle for new thoughts regarding artistry. This can be most notably seen with Marcel Duchamp and his Le Fountain urinal – a commentary about the notion of art. Max Ernst seeded his improvement as a Surrealist, and in Switzerland Tristan Tzara performed at the Cabaret Voltaire. In the Australian setting, it's more than 60 years since Barry Humphries was served breakfast on a peak hour train as a Dadaist act. Dada and Australian sensibilities have much in common, especially when considering the way humour and absurdist art are utilised to ensnare the viewer.

What you’ll find below are Australian Dadaist artists; all using different mediums and various artistic techniques to create stunningly unique works.


Australian Artists

Stephen Benwell

Stephen Benwell

Reclining female

Acrylic on paper 1988

Courtesy of Niagara Galleries


Artist Statement

… because if you have drawn it you’ve stated it. It’s a statement, you can explain it that simply. Because then that drawing exists. That is what art is. When we look at the history of art we just look at other people’s drawings of man. And they explain so much to us. You could not get a bigger task ever, that is the excitement of it all! (Interview with Joe Pascoe, Benwell& Potter Ceramics Exhibition, Shepparton Art Gallery 1989).



Stephen Benwell has exhibited regularly since 1975 and has achieved an international reputation for his hand-built ceramics, which encompass the vessel as a form, inventive sculptures and humanistic statues in clay.  This exhibition includes several works on paper, two from his childhood years and two later works, which all exhibit a dream-like imagination.

Born Melbourne, 1953.



2005 MFA Monash University


Recent Solo Exhibitions:

2013 Stephen Benwell: Beauty, Anarchy, Desire - A Retrospective, Heide Museum of Modern Art, Melbourne

2012 Stephen Benwell, Greenaway Art Gallery, Adelaide

Walking to Oracles: New Paintings and Ceramics, Niagara Galleries, Melbourne

2010 New Ceramics, Niagara Galleries, Melbourne

2007 Recent Works, Niagara Galleries, Melbourne

2005 Niagara Galleries, Melbourne

The Impassioned Shepherd, The Faculty Gallery, Monash University, Melbourne


Recent Group Exhibitions:

2015 Dada lives! Hatch Contemporary Art Space, Ivanhoe

2014 Australia-Korea, Invitational Exhibition, Hanyang University Museum, Seoul, Korea

The Gathering II ,Wangaratta Art Gallery, Victoria

2013 Melbourne Now, National Gallery of Victoria, Melbourne

Diorama, Wollongong City Gallery, N.S.W.

Tenements of Wonder, Greenwood Street Project, Melbourne

2012 Subversive Clay, 2012 Australian Ceramics Triennale, Adelaide

2010 Sidney Myer Fund Australian Ceramic Award, Shepparton Art Gallery, Victoria

Hobart Art Prize, Tasmanian Museum and Art Gallery, Hobart

Fletcher Jones Art Prize, Geelong Gallery, Victoria

Bravura: 21st Century Australian Craft, Art Gallery of South Australia, Adelaide

2009 Deakin University Contemporary Small Sculpture Award Finalists' Exhibition, Deakin University Art Gallery, Melbourne

Auckland Art Fair, New Zealand

2008 Australian Ceramic Stories, Dubbo Regional Gallery, New South Wales

2006 A Secret History of Blue and White, Vietnam Fine Arts Museum, Hanoi and touring

Australian Contemporary, SOFA, Navy Pier, Chicago

Australian Glass and Ceramic Artists, Galerie Ursula Rosenhauer, Goettingen, Germany


Recent Awards:

2010 Sidney Myer Fund Australian Ceramic Award, Shepparton Art Gallery

2009 Inaugural Deakin University Contemporary Small Sculpture Award

Australia Council Visual Arts Board New Work Grant

2008 Monash University Travel Grant

2003-2007 Monash Graduate Scholarship


Elected Bibliography, books and catalogues:

Max Delany, Fleur Watson et al., Melbourne Now , exhibition catalogue, National Gallery of Victoria, 2013

David Hurlston, Melbourne Now Exhibition Guide, National Gallery of Victoria, 2013

Jason Smith, Stephen Benwell: Beauty, Anarchy, Desire – A Retrospective , exhibition catalogue, Heide Museum of Modern Art, Melbourne, 2013

Danny Lacy, Stephen Benwell: The Significance of Rubble', 2010 Sidney Myer Fund Australian Ceramic Award, exhibition catalogue, Shepparton Art Gallery, 2010

Stephen Benwell: New Ceramics, exhibition catalogue, Niagara Publishing, Melbourne, 2010

Dr. Julia Jones, Australian Ceramic Stories', Australian Ceramic Stories, exhibition catalogue DubboRegional Gallery, NSW, 2008

Dr. Luke Morgan, Sighing over ruins: Stephen Benwell', Stephen Benwell Recent Works, exhibition catalogue, Niagara Publishing, Melbourne, 2007



Robert Nelson, ‘Lumps of clay shaped into the past’, The Age, 11 September 2013

Sonia Harford, ‘Potted history of one who broke the mould’, The Age , August 9 2013

Owen Craven, ‘Stephen Benwell – Beauty Anarchy Desire: A Retrospective’, Art Almanac, August, 2013

John McPhee, Collection: Recent Works by Stephen Benwell', Artist Profile, Issue13, 2010

Robert Nelson, The dated and discredited brought back with a twist', The Age, 28 March 2010

Margot Osborne, Bravura: 21st Century Australian Craft', Art Monthly Australia, Issue 227, March 2010

Courtney Kidd, A disciplined eye', Australian Art Collector, Issue 47, January – March 2009

John McPhee, Ceramic Beekcake and other desires:The art of Stephen Benwell, Art and Australia, Volume 47. Spring, 2009

Megan Backhouse, Art around the galleries: Stephen Benwell', The Age A2, 17 November 2007

Robert Nelson, Arcadia all on the surface', The Age, 6 July 2005

Mark Cain

Mark Cain

Mark Cain

Thriving On Bullshit

Museum crate, fibreglass cow pat, mixed media 2003

Collection of the Artist


Artist Statement

At the core of my work, is the need to communicate …Usually this takes the form of text, with a political and social immediacy. These messages and imagery are not always palatable, yet a sense of black humour permeates much of this oeuvre. Over the past twenty years, this work has been showcased through Galleries; an interactive Arts Website; Urban based Stencil Art and Film.



Mark Cain has focussed on having an independent arts practice and has consistently created artworks that critique the official canon of the artworld, through the use of super-craftsmanship and conceptual ingenuity. Mark Cain also makes Dada films; see Addled on utube.

Born Shepparton, Victoria, 1959.



1984 Graduate Diploma of Education, Hawthorn Institute, Melbourne

1977- 9 Diploma of Fine Art Caulfield Institute of Technology, Melbourne


Professional Practice:

1999 – Current Technician, Shepparton Art Museum

1996 – 98 Painting and Drawing Lecturer, Shepparton TAFE. Intern, National Gallery of Victoria

1995 Visual Arts Teacher Prison Services, Victoria

1985 – 93 Full-time Art Teacher Various Melbourne Colleges


Solo Exhibitions:

2009-2013 Street Artist

2006-2009 Shady Side Gallery, Interactive Arts Website

2006Bullshit, Shepparton Art Gallery   

Recent Paintings, Mitchelton Winery Gallery, Nagambie

Riding on the back of a pedigree horse, Shepparton Art Gallery

Australia’s narrative scenes, Span Galleries, Melbourne


Selected Group Shows:

2015 Dada lives!, Hatch Contemporary Art Space, Ivanhoe

1998 to 2007 Friends of the Shepparton Art Gallery

1996    Who 3, Shepparton Art Gallery           

Ten Years After, Caulfield Student Union

Loungeroom Artists, Station Pier, Melbourne


Selected Commissions; Performances and Collections:

2014 Addled, 10 Min Film (Dir. By Mark Cain)

2014 STREET ART  Melbourne, Lou Chamberlin P.198, 2013 Unknown

A Private View 4min video [Dir. By Peta Manning]

Riding on the back of a pedigree horse 6min video [Dir. By Peta Manning]

Shepparton Art Gallery Collection

Poster Commission, Shepparton Arts Festival

Anika Cook

Anika Cook

Anika Cook

Australian Politics series

Digital print 2014

Courtesy of the Artist


Artist Statement

My work often features an underlying narrative that is sometimes amusing, sometimes a little absurd. Collage, with its elements of pre-existing meaning, seems a wonderful medium for this. This series for Dada Lives! takes a leaf out of the books of Hannah Hoch and Max Ernst, nodding to Hoch’s biting political satire while invoking Ernst’s delicate collage technique and use of dramatic narrative-driven imagery.



Anika Cook is representative of a younger generation of artists whose style has developed alongside the unfolding of the dawn of the digital age. Seamless post post-modern, she is sticking the world back together, so that we can all understand it. Underlying much of her work is a great respect for old masters from the European canon, who are now recast into a global perspective. Anika Cook also designs clothing and ready-to-acquire artworks featuring ‘incredible’ imagery.



2015       Dada Lives! Hatch Contemporary Art Space, Ivanhoe

                VAMFF exhibition, Brunswick Street Gallery

2010 - 2011          Exhibition at Design:Made: Trade, State of Design festival, Melbourne

2005       Gretel Was Getting Fatter installation, Sticky Institute, Degraves St underpass, Melbourne

2010       Playing Field exhibition, Craft Victoria, Melbourne

2006       Desire exhibition, George Paton Gallery, Melbourne

                Christmas Exhibition, Someday Gallery, Curtin House

                Hardcopy exhibition, Gasworks Art Part

2005       A-Zeroexhibition, Level 2 Gallery, Curtin House

                Re-appraising the Figure exhibition, George Paton Gallery

                Hardcopy exhibition, Gasworks Art Park

2004       Myth and Narrative exhibition, University of Melbourne

                GaleriaBezdomna exhibition, Homeless Gallery, Collingwood



2011 -    Master of Design, Monash University (uncompleted)

2013       Introduction to Commercial Knitwear Development

2006       Bachelor of Creative Arts, University of Melbourne

2000       Bachelor of Arts (Media Studies), RMIT University (uncompleted)


Professional Experience:

2004 - Designer and proprietor of design business The Gently Unfurling Sneak producing printed clothing, accessories and limited edition artworks.  The Gently Unfurling Sneak products are stocked in more than 30 retail outlets and galleries around Australia.

2008 - 2011          Web and Design Coordinator, Craft Victoria

Responsible for design and development of Craft Victoria’s website (including complete re-design and build in 2010) and ongoing brand development and production of printed marketing collateral.

2009 -    Freelance web design

Graphic design, branding and web development for various clients, including designers, arts producers, writers and film makers.



2009       ArtStart grant, Australia Council

2008       Skills and Arts Development Emerging Artist grant, Australia Council

2006       Hannah Barry Memorial Prize, School of Creative Arts, University of Melbourne

2005       Arts grant, Melbourne University Student Union

William Kelly

William Kelly

Nathalia – darts & dates by William Kelly OAM & Joe Pascoe


It must have been provocation of a profound kind that lead Marcel Duchamp to make such a simple artwork as Three Standard Stoppages[1].

To form the work, In Paris 1913-14, he dropped three one metre threads from a height of one metre, allowing them to partially curl where they landed. Each ‘stoppage’ was traced and then made permanent and placed together in a museum type box as the finalised artwork.

Those with an Asperger’s leaning may perhaps note the cubic element – a metre long string dropped from a metre three times. It’s an odd thing to do in that it had no precedent. Some see a humour in it, and perhaps, with a 100 years hindsight, it was a wry crack at Cubism, carried out on a conceptual level. We will never ‘know’, though John Cage certainly appreciated it, citing it as a forerunner to his music piece 4’33”.[2]

There is a sweet country town in Australia, where artists William Kelly[3] and his wife Veronica reside. Nathalia[4], as it is called, calmly crosses a generous river, framed by pepper trees and straggly eucalypts, and is seamed through its axis by 19th century buildings. Its 1,500 people are looked over by that symbol of eternity, a water tower, rising handsomely at the end of the main street. The soft side streets eek out to the fertile countryside. A town such as this gives rise to thoughts about the nature of time.

Nathalia is in many ways an example of a ‘New Town’. Its residents are fully informed by the wider digital world and are diverse in their activities, religions and art. It has a brand new library, hospital and police station. Its demographics and rural centrality have caught the eye of planners and the imagination of artists.

To re-create in spirit Duchamp’s challenge, internationally acclaimed artist and Nathalia resident, William Kelly, agreed to be interviewed about three randomly selected days of his life. As we know, every day has 24 hours and each day is ‘dropped’ on us to make meaning of. What shapes would be revealed? The days would be arrived at by throwing darts at a dartboard at home, as witnessed by his wife Veronica.

Friday, 10 September 1949

I was six years old and there were five of us sharing a single room, in a rundown hotel in Buffalo, New York. We were there because my father was looking for work in Western New York. After a few weeks he got a job as a switcher (switchman) on the railways. They are the guys that adjust the tracks for the trains. He stayed with the job.

For breakfast I would have piece of toast and a glass of water. I remember it was hot but mostly  very, very humid. I slept on the floor, probably on a sheet – no bed.

During the day we would play in the adjacent vacant lot. As all kids do, we made up games such as throwing rocks at tins or perhaps a glass bottle, if one was around. There was no school for me at that stage. Lunch was another piece of toast, this time with a glass of milk. There wasn’t a power point in our room so we had an electrical cord that plugged into the light fitting. This had to be done in secret (no ‘cooking’ was allowed).

On or around the day in question, it was like most other days, playing in the vacant lot. However, towards the end of the afternoon my sisters went inside and some tough kids came from elsewhere and trapped me. Amongst punches and pushes, I got stabbed near the ankle. My father, I think, carried me to the hospital where they washed the wound and put in several itches as it was a jagged wound.

No dinner that night.

Mostly I remember waking up happy.

Saturday 22 July 1967

I was about 24 years and an art student at Philadelphia. I was painting a large family portrait, about two metres or more square. The portrait was of my family – my wife Veronica and our baby boy Liam. The painting is lost but I remember it has Veronica looking, reclining and I’m standing nude, as seen in a mirror. Liam was in a bassinette. The painting used primary colours and flesh tones. Breakfast was now toast and poached eggs, and at least three cups of coffee. I smoked cigarettes whenever I could find them. I wore Khaki clothes, a hold over from earlier factory work as a welder – short sleeves in summer, long sleeves in winter.



My method then was to work fulltime for a year in the steel works and then focus on the art school for a whole year. We had a 1963 Volkswagan beetle, in a kind of cream colour. The studio was a room in the apartment.

Being a Saturday I would have gone out and helped my friend and earlier lecturer, Paul Keene[5], with a mural[6] commission he was doing for the Johnson C. Smith University in Charlotte, North Carolina. He was an African American and the university was celebrating its 100 year anniversary as a ‘black’ university, remember, it would have been established just after the Civil War.

I got the job of helping him with the mural as he had broken a leg and was in a wheelchair and could only reach up to a certain height. I sort of did the top half, on the scaffolding, while he did the bottom half! He had sketched out the design and I blocked it in. As his leg got better he was able to get higher. Who knows there might be some of my brushwork still showing through!

Paul was a sophisticated guy and had exhibited in Paris with Picasso and Leger and spoke French. African Americans (then in the US still called Negroes) did better in Europe – particularly in France at the time.

It was late and I drove home at about 8pm. Two blocks from my building the cops had blockaded the streets, as there was a race riot going on. This was the time of race riots and apart from the famous riots where many people would get killed, there were many smaller riots. A combination of hot nights, end of the week pay day to buy alcohol and appalling living conditions, fuelled these quite regular events. There were gunshots. I stashed the car and made my way to the apartment. Veronica and Liam were Ok. We waited for a quiet period of twenty, twenty-five minutes and made our way back to where I had stashed the car, and drove to Veronica’s mother’s house in rural Pennsylvania.

There was irony in working on a special mural depicting the founding of the black university during the day and then being in a race riot at night.

Thursday 7 November 2013

I’m now 70 years old and living in Nathalia. It’s nice and quiet and Veronica and I are having breakfast in the garden. The weather is beautiful and I am listening to the birds. There are most amazing yellow rosellas, magpies, wrens and small birds. Its poached eggs and three cups of coffee!


self portrait in landscape

I go up to the studio. I’m working on a new painting called, Self-portrait in landscape: In the studio everyone is there with you (aboveCourtesy MARS Gallery, Melbourne). It’s a title I got through a conversation with John Cage. I had spoken with him a few times. On this day I would have looked at art books on Picasso, Duchamp, De Chirico, Goya. Sometimes I do small separate sketches of parts of their artworks, such as a part of Goya’s 3rd of May[7].

The self-portrait was a deliberate attempt to reference people.

This painting has a large blue sky and a white lower plane. I’m seated in the middle, thinking. On the back of the canvas, neatly semi-stencilled, are the many names of people and artists who have influenced me. Apart from the famous names, there are the people like the Dixie Chicks[8] who stood up to George W Bush through their songs. They are important too.

At that stage I would have been blocking in my painting. Around lunchtime Veronica often very kindly brings me a cheese and tomato sandwich and a pot of coffee. I would have kept on thinking, sometimes working on the floor, all afternoon, and mostly working until four or four-thirty in the morning, again rising at eight or eight-thirty. I have always done this. Dinner would take place sometime, with a glass of wine at say 10pm.

I work a fifteen hour day and always have.


[1] Marcel Duchamp images;

[2] John Cage comment;.

[3] William Kelly; (30/12/2014)

[4] Nathalia;,_Victoria (30/12/2014)

[5]Paul Keene;  (6/2/2015)

[6] Mural image; (6/2/2015)

[7] Francisco Goya image;  (6/2/2015)

[8] Dixie Chicks; (6/2/2015)

Nicholas Jones

Nicholas Jones

The Times Concise Atlas of the World

Carved book 2014

Courtesy of the Artist


Artist Statement

‘… as much about the process as it is about the form …  these books were conceived, born, loved, stored, discarded, found anew, studied, cut, folded and reborn.’ (20/11/2014)

new, studied, cut, folded and reborn."


Nicholas Jones has been carving into found books for over a decade, rendering them with new life using his reverse bas-relief technique to burrow into the into the interiors of their pages, to reveal new meanings regarding the particular book – which is now a form of sculpture. Nicholas Jones is Artist-in-Residence throughout the exhibition period and is available for special commissions.


Solo Exhibitions:

“To the Islands” Stockroom Gallery

“Unpacking the Library” Trinity College, Melbourne University

“Nicholas Jones”Wroclaw Book Fair, Wroclaw, Poland

“Encased” Embiggen Bookshop, Melbourne

“Without Bias” Craft Victoria

“The Garden of Forking Paths” The Geelong Gallery

“New Work” MARS Gallery

“The Tower of Learning” Pablo Fanque Gallery, Sydney

“Release the Stars” Mr Wilkinson

“Nicholas Jones” Australian Art Resources

“A Book is a Garden” Poliform Showroom

“At the Bottom of each Word” Linden Gallery

“Slight Return” Spacement Gallery

“Gestalt” Space Furniture

“In Advance of the Broken Spine” RMIT Project Space Gallery

“The Merri Creek Scrolls” Experimental Art Space, Melbourne University

“Word Knots” Baillieu Library Foyer

“Pages from the Ol’ Factory” Westspace Gallery

“On a Roll” Meyers Place Art Wall

“Tondo” Stripp Gallery


Selected Group Exhibitions:


Dada lives! Hatch Contemporary Art Space, Ivanhoe


“Inspiration Under the Dome” The State Library of Victoria

“Democracy” Grahame Editions Gallery

“Unfold” 45 Downstairs

“How the Light Gets In” E.G. Et al Gallery

“Marquette” MARS Gallery

“Unrepresented” 45 Downstairs

“In the Kitchen Sink” MARS Gallery

“Perspective” Craft Victoria

“Paper Cuts” Pigment Gallery

“Novel Ideas” Oakville Gallery, Oakville, Ontario, Canada

Visual Arts Biennale, Castlemaine State Festival

“Rock, Paper, Scissors” Westspace Gallery

“So What” Third Drawer Down Gallery

“Bookish” Australian Galleries

“Make the Common Precious” Centro Cultural EstachiónMapocho, Santiago, Chile

“Dervish” Imp Gallery

“Paper” Perth Institute of Contemporary Art

“Lexicon” City Library, Melbourne

“Secret Shelf Life of Us” Platform Gallery

“Poetica” Object Gallery, Sydney

“A Portable Model Of…” Latrobe Regional Gallery

“Make the Common Precious” Craft Victoria

“A Portable Model Of…” Plimsoll Gallery, Hobart

“Work in Progress” Next Wave Festival, Spacement Gallery

“Address Book” Bus Gallery

“Museum Aesthetic” Gallery 101

“Dome Festival” State Library of Victoria

“Compendium” Platform Gallery
Spencer St

“Papier” Mezzanine at Ivy Hopes

“Compost(ion) Platform 2 Gallery, Flinders St

“Little Kingdoms” Mezzanine at Ivy Hopes

“Citylights Attacks!”Citylights Art Project

“New Work” LaTrobe St Gallery

“Paper” Craft Victoria

“Siemens RMIT Scholarships Show” RMIT Gallery Storey Hall

“Strata”, MFA Graduate Show, Span Gallery

“The New Collectables” First Site Gallery

“Brailling” Corporation Lane, City (Fringe Festival Show)

“Wholelottalove” Citylights Gallery

14GO Bendigo Art Gallery

A4 Art Westspace Gallery

“Future Remembrances” State Library of Victoria Melbourne Festival Show


Selected Awards:


Creative Fellowship State Library of Victoria

Artist In Residence Melbourne Grammar School

Artist in Residence Athenaeum Library


Artist in Residence Melbourne Girls Grammar School


Artist in Residence Fairfield Primary School

Artist in Residence Geelong Grammar School


Finalist – University of Melbourne Postgraduate Association Art Prize


Artist in residence – Open Bench Craft Victoria

New Work Emerging Arts Development Grant Australia Council for the Arts


Finalist – RMIT Siemens Art Prize


Artist in residence Duldig Studio


Jones’ work is represented in many public and private collections in Australia, including the State Library of Victoria, The State Library of Queensland, The University of Melbourne, Artspace Mackay and RMIT University.

Guest Lecturer at RMIT University, Monash University, Zart Art, Lyceum Club, CAE.

Anastasia Klose

Anastasia Klose

Anastasia Klose

Self Portrait

Courtesy of Tolarno Galleries

Artist Statement

“Yes, my work is about my own ‘subjectivity’. But I am an artist, and it’s obviously not just a ‘dear diary here is my life’ outpouring. My work is extremely calculated. I think about it a lot before it happens. I consider my work very much from the perspective of the audience. I want them to get a certain ‘feeling’ when they see my work. I want them to feel like they’ve lived through whatever I’ve lived through themselves, whether they are man or woman. For example, ‘Film for my Nanna’, where I am the bride without a groom walking the streets, everyone could relate to that picture of loneliness. And in my live 2 month performance in Sydney last year at the MCA, ‘ The Reliving Room’, I wanted people to feel sympathy and shame for me dancing, but I also wanted them to be amazed by my physical proximity. I wanted to create a sort of appalling, yet entertaining and compelling, atmosphere. *Regarding audiences, the one thing I don’t want them to be is bored”, interview with Rachel Edgar ( 21/12/2014).



Anastasia Klose uses her own identity as a type of art medium, to bridge the gap between art and life, allowing the energy of making the work to remain in perpetuity within the artwork. Her outstanding ascent as an internationally significant Australian artist has been ignited by the gestalt of our times, which has seen the fusing of the personal with the public, through such art media as video, photography, performance and drawing.

Born 1978, Melbourne.

Represented by Tolarno Galleries, Melbourne



2012 Masters in Fine Art, Monash University

2005 Honors in Fine Art (Drawing), Victorian College of the Arts

2004 Bachelor of Fine Art (Drawing), Victorian College of the Arts


Bachelor of Arts, Philosophy and English double major, University of Melbourne


Selected Solo Exhibitions:


I Can’t Stop Living, Gertrude Contemporary, Melbourne

I Can’t Stop Living, Tolarno Galleries, Melbourne

2011 Refuse to Lose, curated by David O’Halloran, Walker St Gallery, Dandenong, Victoria

          ACCA Pop-Up Program, 3 day performance titled “Nanna, I am still searching…” at the Venice

          Biennale Vernissage 2011, curated by Juliana Engberg, Australian Centre for Contemporary Art

in Venice, Italy

2010 The Poverty Show, Tolarno Galleries, Melbourne

i thought I was wrong, but it turned out i was wrong…, Australian Experimental Art Foundation,


2009 The Happy Artist, Tolarno Galleries, Melbourne

2008 The Shortest Straw, Apartment, St Kilda Road, Melbourne

2006 Anastasia Klose - The Best of..., Spacement Gallery, Melbourne


Selected Group Exhibitions:

2015 Dada lives!, Hatch Contemporary Art Space, Ivanhoe

2013 Melbourne Now, National Gallery Of Victoria, Melbourne, Australia

2012 Primavera Museum of Contemporary Art, Sydney, Australia

          Contemporary Australia: Women, Queensland Art Gallery, Gallery of Modern Art, Brisbane

          All you need is love, curated by Bronwyn Johnson as part of Melbourne Winter Artspace,

3        Domaine Chandon winery, Coldstream, Victoria

Aiva Festival: Angelholm International Video Art Festival, curated by Rob Garrett, Angelholm,


2011 The Kiss, performance, Lorne Sculpture Biennale, curated by Julie Collins, Lorne, Victoria

          Selectively Revealed, 26 October – 11 December 2011 – Aram Art Gallery, Seoul .18 February –

13 May 2012 – National Taiwan Museum of Fine Arts, Taichung, Taiwan. 4 June – 21 July 2012

– Chulalongkorn University Art Space, Bangkok, Thailand. Organized by Asialink and

Experimenta, and curated by Sarah Bond and Clare Needham

         Telepathy and Love, curated by Veronica Kent and Sean Peoples, Spanish Apartment Barcelona,

andWestspace, Melbourne

          21st Century: Art in the First Decade, Queensland Art Gallery, Gallery of Modern Art, Brisbane

2010 Mortality, Australian Centre for Contemporary Art, Melbourne

          TWMA Contemporary, Tarrawarra Museum of Art, Healesville

          Gestures and Procedures, curated by Juliana Engberg, Australian Centre for Contemporary Art,          


          Art#1, curated by Juliana Engberg, Shepparton Regional Art Gallery, Shepparton

Duettos, curated by Dom de Clario, Australian Experimental Art Foundation, Adelaide

         Feminism Never Happened, curated by Robert Leonard, IMA, Brisbane

2009 Why we do the things we do, curated by Jacqueline Dougherty, PICA

         I’m worst at what I do best, curated by Tom Polo, Parramatta Artist Studios

2008 Flux Capacitor, curated by Pilot, Utopian Slumps, Melbourne

         New Millenium, curated by Steven Alderton, Lismore Regional Gallery, NSW

          The 2008 Sydney Biennale, curated by Carolyn Christov-Bakargiev, online venue

2007 New 07, curated by Juliana Engberg, Australian Centre of Contemporary Art, Melbourne

          Thanks Duchamp!!, collaboration with Elizabeth Presa, Cite International Des Arts gallery, Paris

2006 Art Smash, Victoria Park Gallery, Melbourne

          Eat My Face, curated by MerrinEirth on Artist Running Space, the human art gallery

2005 Graduate Exhibition, VCA Margaret Lawrence Gallery, Victorian College of the Arts, Melbourne

          Melbourne vs. New York, curated by Olivia Dowling, for Teknikunst festival, RMIT, Melbourne

         24seven film night, curated by Kiron Robinson, Glitch Bar, Melbourne

Azlan and the Art stars, 2005 Honours exhibition, VCA Student Gallery, Victorian College of the

         Arts, Melbourne

          Superstructure, curated by Christine Morrow, West Space, Melbourne

2004 Work in Progress, curated by Hannah Matthews for Nextwave festival, Spacement, Melbourne

2003 Common Vernacular, Conical, Melbourne


Selected Awards:

2007 Winner of the $15000 Prometheus Visual Art Award

          Shortlisted for Georges Mora fellowship

2005 Theodore Urbach Encouragement Award

          Who wants to be a famous artist? $100 Grant Grab awarded by Gabrielle de Vietri

          Proud – Best Video Artwork

          Proud – Best Postgraduate Artwork

2004 Gary Grossbard Drawing Prize

2003 Proud - Best use of installation space




University of Queensland Art Museum, Brisbane

The Prometheus Foundation Gallery Collection

Private collections


Selected Bibliography:

Melbourne Now, (exh. cat.), National Gallery Of Victoria, Melbourne, Australia. NGV

Publications 2013

Stephens, Andrew, Faking it – for very good reason, The Age, 12 December, 2013

Anusha Kenny, Anastasia Klose: Becoming the person I am Primavera 2012: Young Australian

Artists, pp. 32 – 33

Ashleigh Wilson, Women explore the themes of life in contemporary Australia, The Australian,

April 23

Gina McColl, Blowing Venice out of the Water, The Age, p.15, May 10

Gabriella Coslovich, Goma’s star continues to burn brightly, The Age January 4

Anne Kirker, Feminism Never Happened, Artlink, Vol. 30, No. 2, 2010

Tim Lloyd, Klose Encounters, The Advertiser, 19 July 2010

LarrissaHjorth, Photoshifting: Art Practice, Camera Phones and Social Media: The ramifications

of new media Photofile magazine, Issue 89, 2010

Alexie Glass, Extimacy: A new generation of Feminism, Art and Australia, Vol. 47, Spring, 2009

Andrew Frost, Being a success is overrated – we should strive harder to fail, Sydney Morning

Herald, 22 July 2009

Kitty Hauser, Public Works-Anastasia Klose, “Je suisune artiste Aussie!”, The Weekend

Australian, Review, 11-12 April 2009

Robert Nelson, Twin Gardens of Artistic Eden depart at bitter bight, The Age, 1 April 2009

Anastasia Klose featured on Artscapetelevision program, episode 1 ‘Starry Starry Night’,

presented by Andrew Frost, ABC 1, April 2009

Natalie King, Critics Choice, Australian Art Collector, Issue 48, April – June 2009, p. 164

Juliana Engberg, Uneasy Pieces, Art World, Issue 7, February/March 2009, p.60

Dylan Rainforth, The Age, M Magazine, 5 October 2008

Melissa Hart, Art Notes, Art Monthly Australia, Issue 201, July, 2007

Lucy Elliot, Art Matters - New 07, Melbourne Community Voice, 5 May 2007

Larissa Dubecki, Dying for your art, The Age, 3 May 2007, p.18

Robert Nelson, Pessimism is the new black as artists shrink, erase and shatter expectations - New

07, The Age, 11 April 2007, p. 17

Sebastian Smee, Come feel the disdain, The Australian, 22 March 2007

Harbent Gill, Klose encounters of the absurd kind, Herald Sun, 23 March 2007

Anastasia Klose, New 07 interviewed, Contemporary Visual Arts and Culture Broadsheet,

(Anastasia Klose is also on the front cover), Vol. 36, No. 1, March 2007, p.19

John Bailey, Nothing to Hide, The Age, M magazine, 18 March 2007, p. 31

Anne Lim, Hello, Weekend Australian Magazine, 10 – 11March 2007


Simon Gregg, ”Melburnin” - Top 10 exhibitions of 2006, Trouble magazine, December 2006, pp.

9, 58

Michael Ascroft, Master of my inferiority, Be Young and Shutup, Issue 1, September 2006,


Edward Colless, Undiscovered – Our Rising Art Stars – Anastasia Klose, Australian Art Collector,

April 2006, p.130

Meghan Backhouse,Around The Galleries, The Age, 26 February 2006



The Mistress

Painted book 2011

Courtesy of the artist

Artist statement

I am a printmaker and painter living and working in Castlemaine, Victoria. I have a small studio in a shared space in the Castlemaine CBD. I do my printmaking in this studio, or at the studio of friend and colleague Diana Orinda Burns, in Sandon. My work is generally about the beauty and meaning that can be found in the everyday, in the mundane and the utilitarian, and in the unremarkable corners of home. They are an exploration of household objects and familiar surrounds, and of the humour, weight and significance of ordinary things.



KirLarwill works across several art media, with great sensitivity, to depict remembered emotions and situations, in an almost Surrealist way. Boats and birds sometimes feature as private symbols in her paintings, prints and assembled objects.  The painted books in Dada Lives! connect the idea of painting with the notion of storytelling to create an imaginary object that sits on its own shelf or space, like an imagined thought that has come to life.


Solo Exhibitions:

2012 Small Pleasures, Union Studio Gallery, Castlemaine

2010 Small Things Red Gallery, Fitzroy

2006 HomeRed Gallery, Melbourne


Group Exhibitions:

2015 Dada lives!, Hatch Contemporary Art Space, Ivanhoe

2014 lentyArtsOpen, Castlemaine

Editions II Tacit Contemporary, Melbourne

Editions [Redux] Tacit Contemporary, Melbourne

2013 Small works (5 artists) Union Studio Gallery, Castlemaine

4+1 with Robyn Gibson and Anne Tweed (Castlemaine State Festival )

use& re-use with Kathryn Davies and Tim Preston (Castlemaine State Festival)

The Tree Show Cascade Print Workshop (Castlemaine State Festival)

2012       ArtsOpen Castlemaine, Usethings exhibition with Clayton Tremlett& Tim Preston

Groundwork collaborative prints with Diana Orinda Burns and Robyn Gibson, alongside work by Belinda Fox, Port Jackson Press, Melbourne.

2011 Background: collaborative print project with Diana Orinda Burns and Robyn Gibson, La Trobe University Visual Arts Centre, Bendigo.

Footprints, Counihan Gallery, Brunswick (curatorial team and participant)

A Country Trail, Lauriston Press, Kyneton

2010       ‘International Print Exhibition and Exchange – Compact Prints’, Umbrella Studio Contemporary Arts, Townsville, Queensland

Unique State group show with Diana Orinda Burns and Robyn Gibson, Studio Paradiso, Sandon (part of Castlemaine State Festival program).

2009 Two-person show, Falkner Gallery, Castlemaine

2008 Group show, Pocket Gallery, Newstead

2006 Group show, Falkner Gallery, Castlemaine

2005 Red Gallery Christmas Show, Melbourne

Two-person show, Red Gallery, Melbourne

2004 Convent Gallery, Daylesford

2001 Two-person show, Phil Elson Pottery Studio, Castlemaine

Two-person show, Hill End Café Gallery, Daylesford

2000 Group show, Hill End Café Gallery, Daylesford

Group show , Periapt Café, Flemington

Group show, Fitzroy Gallery

Williamstown Festival Contemporary Art Prize Exhibition

1999                                     Group show, Fitzroy Gallery



2013 First prize mixed media & first prize drawing Beaufort Annual Show

2012 Annual Print Commission Print Council of Australia

2011 First prize (print) Beaufort Annual Show

2009 Second prize Best exhibit in Show, and 1st prize (print), Beaufort Annual Show

2008 Commended, printmaking, Sutton Grange Art Show

2007 First prize Mt Alexander Grief Support Program Art Exhibition

First prize (mixed media), Beaufort Annual Show

2005 Best painting in show, Beaufort Annual Show

2004 Highly commended, Beaufort Annual Show

2001 First prize (Drawing), Beaufort Annual Show


Education & Professional Development:

Initial education         B.A. hons; Bachelor Social Work; Graduate Diploma Women’s Studies

1998 – 2000 Diploma of Visual Arts CAE

2004 Short course in colour and painting with Prudence Flint

2006 – ongoingWeekly printmaking classes with Diana Orinda-Burns

2009 Three day drawing workshop with Anne Tweed

2010 (2nd) Three day drawing workshop with Anne Tweed

2013 One-day Masterclass with Katherine Hattam


Collaborative Community Projects:

Project team member, Castlemaine Press Inc., project planning, community engagement and project promotion work in an arts enterprise project to establish a community access print studio.

Project team member, Pop up art project, JumpleadsInc project planning, community engagement and project promotion work in an arts enterprise project to promote and sell the work of Central Victorian artists (2013/14)

Coordinator of a study of community desire & support for public arts space in Mt Alexander Shire (2011)

Member working group to develop a multi-purpose arts space in Mt Alexander Shire (2010)

Chair Castlemaine Artists’ Market establishing and managing the monthly Artists’ Market @ Theatre Royal (2008-9)

Consultant assisting local groups with funding submissions for community projects (2007-present)



Counihan Gallery (Footprints Solander Box of 16 central Victorian printmakers)

Mount Alexander Hospital

State Library of Victoria

Canson Australia

Print Council of Australia Archive

City of Freemantle Art Collection

And numerous private collections including Julian Burnside QC

Elizabeth Liddle

Elizabeth Liddle

The Entry Mat, 1788
Rubber backed coir matting, acrylic gloss paint.
Size: within 3 x 3metres


Artist Statement

The Entry Mat, 1788 is an installation work that is presented as a modern doormat representing the island now known as Australia. Based on Norman Tindales original Aboriginal language map, the work represents Aboriginal nationhood up to 1788, the year in which New Holland became a British colony called New South Wales. Australia, as we know it today is divided and classified through our modern state borders. 


The black lines are representative of diverse tribal groups who speak regionally distinct languages and also share cultural practices and customs.  1788 marked the time when masses of Britain’s free and unwanted citizens entered the country in waves of tall ship arrivals and is symbolic of the experiences of Aboriginal people thereafter.



Elizabeth Liddle is an emerging artist whose comments on contemporary, historical and cultural issues are influenced by both her immediate surroundings and her heritage. Liddle is a multi-discipline artist working in still life, installations, photography and digital art. Her works in Dada Lives! are conceptually outstanding for their breath of understanding of the Australian condition for many Indigenous people.



Dada lives! Hatch Contemporary Art Space, Ivanhoe 2015

Horizons, Bundoora Homestead Art Centre, June 25-August 3, 2014

Substation Contemporary Art Prize 2013

The Substation - Oct/Nov - 2013

Indigenous Voices, Contemporary Strategies

26 July-15 September, 2013

Incinerator Gallery

BengeknyarrwaBengoot.ErrantherreYengeeweme (Wadawurrung/

Arrernte), I see you, I hear you

Wednesday 22 May, 2013 - Saturday 29 June, 2013

Manningham Art Gallery


Flora and Fauna

7 Sep 2012 – 3 Feb 2013

Koorie Heritage Trust

TRANSFERANCE-The carrying of memory (Group Show)

28 June-30 July 2011

Boscia Galleries

Pa Ring Gallery @ Toyota Community Spirit Gallery (Group show)

7 July – 15 October 2010

Toyota Community Spirit Gallery

NAIDOC Week exhibition (Group show)

DESA Australia

6 – 12 July 2010

Art Melbourne (Group show)

22-25 April 2010

Koorie Heritage Trust stall

Memories and Desire’ Indigenous photographic exhibition (Group show)

11 – 18 December, 2009

Gordon Gallery, Geelong


‘Memories and Desire’ a fringe show as part of the Ballarat FotoBienale,

2009 (Group show)

September 2009

KirritBareet Aboriginal Art Centre

Picture This 2009 (Group show)

Brunswick St, Gallery

July 2009



Manningham City Council - Art Gallery

Cornucopia Australis, 2011, Ed 1of 5

Silver Mounted Emu Egg with Emu Finial, 2011. Ed 1of 5

Relationships Australia

Cockatoo Feather Series, 2009,

Sulphur Crested Cockatoo Feather, Digital Photograph on Metallic Paper, 2009,

Ed 2 of 7

DESA Australia

Cockatoo Feather Series, 2009, Ed 1 of 7

Digital Photographs on Metallic Paper, 2009




Substation Contemporary Art Prize 2013

The Substation - Oct/Nov - 2013


Inaugural DESA Award for Indigenous Artists 2010

DESA Australia

‘Sulphur Crested Cockatoo Feather’

Digital Photograph on Metallic Paper, 2009


Publications and Media:

Etchings Indigenous - Black and Sexy

Published by Ilura Press, Melbourne Australia, 2010

Photographs: Cockatoo Feather Series 2009 (Mature Cockatoo Feather, Baby

Cockatoo Feather, Sulphur Crested Cockatoo Feather), Posing for a Photo, 2008

and Sideshow Alley, Clowns, 2008.

John O'Neil

John O'Neil

John O’Neil


Digital print 1983

Courtesy of the Artist and Bridget McDonnell Gallery


Artist Statement

I initially came to Torquay after being employed by Deakin University, Visual Art and Media Departments as Senior Photographer, subsequently l became a Teacher of Photography, Art and Media. Currently l am a Professional Photographer (John O’Neil Photography)

doing advertising photography, weddings and portraits. My education is in the visual arts and l have always maintained an interest in art and photo/art  and at times l have been very actively involved producing it, l welcome this opportunity to display this work’ some old some new’.



John O’Neil has been a photographer for several decades, capturing the Australian landscape in a very broad sense, from its primeval origins to modern markings through public commercial statuary, for example. Exhibiting periodically as an artist photographer, O’Neil morphed from the film to the digital era, whilst keeping his distinctive style intact. His bushfire series has acquired iconic status for its depiction of the soul of a burnt landscape, with its promise of eternal survival.


Selected Exhibitions:

2011 Stormy Weather, Contemporary Landscape Photography, National Gallery of Victoria

1989 Moet and Chandon Prize, National Gallery of Victoria

1989 Thousand Mile Stare Australian Centre for Contemporary Art

1989 Austausch Melbourne/Berlin Photography Exchange Exhibition.

1987 Regional Artist’s Review, Artery Gallery, Geelong

1986 The YouYangs, Geelong Art Gallery

1988 Big Things, Christine Abrahams Gallery

1986 Australian Landscape Photographed, Art Gallery of NSW, National Gallery of Victoria, Ballarat Art Gallery.

1985 Victoria Vision – 1834 Onwards, National Gallery of Victoria

1985 Survey Surveyed, Geelong Art Gallery

1984 Survey Show, Geelong Art Gallery

1984 Ash Wednesday, Australian Centre for Photography

1983 Landscapes, Christine Abrahams Gallery, Melbourne



National Gallery of Victoria

Geelong Art Gallery

Deakin University Collection

Melbourne City Council Collection

Moet and Chandon Collection

Private Collections

Stefan Szonyi

Stefan Szonyi

Stefan Szonyi

Studio 1

Ceramic 1994

Courtesy of the Artist


Artist Statement

Two of these works are from the from an “In The Studio” series while the other work is from a “Big” series. They are all simply observations and reflections on recalled and selected events, combined with an element of autobiography and social commentary.

The work incorporates a natural fascination with miniatures and is an attempt to come to terms with the challenges involved in construction using clay combined with other materials.

The earthenware clay and underglazes used in this work seemed to be the ideal materials to challenge my need to engage in modelling and attempting to make well crafted, colourful objects. My training in painting imbued me with a love of colour and I have primarily been motivated by the joy and pleasure derived from viewing and handling brightly coloured ceramic objects. 



Stefan Szonyi captures a universe in the palm of your hand through his miniature world of ceramics, which explore such themes as family love, chance and some of the constructs in the artworld. His is an unusual oeuvre in that probably more than half of his ceramics now reside in public collections, where they provide an entrée into the unique philosophical qualities of Australian humour.

1945       Born Germany

1949       Arrived Australia

1964-66 Trained Secondary Teacher´s Certificate, Melbourne Teacher´s College

1967       Studied Painting Royal Melbourne Institute of Technology

1979-81 Studied art at Preston Institute of Technology

Currently living in Daylesford, Victoria.


Solo Exhibitions:             

1977       Ray Hughes Gallery, Brisbane

1990       Macquarie Galleries, Sydney

1992-93 Stefan Szonyi Surveyed, Touring Exhibition - Ballarat, Bendigo, Benalla, Shepparton and ,

Geelong Regional Galleries, and Roy Morgan Research Centre, Melbourne. Curated by Joe Pascoe.

1994       Ray Hughes Gallery, Sydney


Group exhibitions:

1976       Craft Centre, Melbourne

1979       37th International Exhibition of Ceramic Art, Faenza, Italy     

1980       Mayfair Ceramics Award Exhibition / Meat Market Centenary Celebration,North Melbourne

1980-82 Recent Ceramics from Australia, Australia Council Exhibition Touring Europe

1982-84 Contemporary Australian Ceramics, Australia Council Exhibition Touring New Zealand, Canada, U.S.A.                        

1982       National Craft Aquisition Award, Darwin / Mayfair Ceramics Award Exhibition

1984       First Annual Ceramics Exhibition, Ballarat Fine Art Gallery / Fremantle Arts Centre

1985       Clothes and Clay Orange Festival of Art, Orange Regional Gallery / Australian Motif, Craft Council Gallery, Sydney / Caltex North Queensland Ceramic Award, Perc Tucker Regional Gallery, Townsville, Darling Downs Ceramic Award, Toowoomba, Queensland / Australian Crafts Survey Exhibition, Meat Market Craft Centre,  North Melbourne / International Ceramics Festival, Mino, Japan       

1987       Mayfair Ceramics Award / Mornington Peninsula Craft Event  

1988       Mornington Peninsula Craft Event / Bicentennial National Exhibition, Melbourne Showgrounds / Australian Crafts, Meat Market Craft Centre, North Melbourne

1990       Tea for Two, Meat Market Craft Centre, North Melbourne

1991       Shepparton Art Gallery - Sidney Myer Fund Australia Day Ceramics Award

1994       Colin and Cecily Rigg Craft Award, National Gallery of Victoria

               1995        Shepparton Art Gallery - Sidney Myer Fund Australia Day Ceramics Award / Nillumbik Art     

  1996      Shepparton Art Gallery - Sidney Myer Fund Australia Day Ceramics Award 

1996-97 Delinquent Angel-Australian ceramics touring Faeza-Italy, Asia, Australia

1997     Then and Now, Meat Market Craft Centre, North Melbourne / Sidney Myer Fund International Ceramic Award – Shepparton Art Gallery / Newcastle Region Art Gallery National Ceramic Purchase Award

1998     Sidney Myer Fund International Ceramic Award – Shepparton Art Gallery / The Great Australian Teapot Show – Distelfink Gallery/ Australian Crafts for Tea – Tokyo/ Celebrating Ceramics – Castlemaine Art Gallery

1999     Teawares Towards 2000 – Distelfink Galley/ Qdos Gallery, Lorne

2002     Gold Coast Ceramic Art Award

2003     Hypercrafting – Monash University, Caulfield

2004     Celebrating the Master­ – Skepsi on Swanston

2004     Open Air Sculpture Show  -Qdos, Lorne

2005     Gold Coast Ceramic Art AwardAA

2006     Hungarofest – Melbourne 2015

2015     Dada Lives! Hatch Contemporary Art Space, Ivanhoe



Ararat Gallery

Art Gallery of South Australia

Australasian Meat Workers Union Collection, Victoria                                   

Australian National Gallery, Canberra

Ballarat Fine Art Gallery

Bendigo Art Gallery

Caltex Collection, Queensland

City of Footscray Collection

Comune Di Faenza Collection, Italy

Diamond Valley Collection, Victoria

Geelong Art Gallery

La Trobe Regional Gallery

Mayfair Ceramic Collection, Shepparton Art Gallery

National Gallery of Victoria

Newcastle Region Art Gallery

Nillumbik Shire Art Collection

Orange Civic Centre Collection

Powerhouse Museum, Sydney

Queen Victoria Museum & Art Gallery, Launceston

Queensland University of Technology

Shepparton Art Gallery

Toowoomba City Council Collection

University of Tasmania Collection

Victorian State Craft Collection, Meat Market Craft Centre

Various Private Collections

Dadaism - The Story of the artistic Movement

Worldwide Dadaism Movement | Movement of Dada Artists

Who-Ha Dada Movement | What Is the Dada Movement


Artistic periods – despite how long ago they existed – will always find their way into influencing some people. Despite Dada existing in the early 20th century as a result of the war – it continues to filter through artists today and still influences their artwork. Whilst not being true to its original purpose Dadaists combine Dadaism and contemporary artistic thoughts into creating unique works that still provide an interesting commentary on society. Dadaism itself was influenced by some of the big avant-garde movements such as cubism, futurism, constructivism and expressionism so it’s little wonder that it finds itself into artistic expression today – especially considering that the core values of Dadaism such as mockery of materialism and overt nationalism are still very much relevant today.

The Nonsensical Art of Dada | Dadaism | LittleArtTalks

Responding against a world gone mad, destroyed by both war and fascist ruling, the Dada anti-art movement quickly became both destructive. Dada scholars and artists were concerned with shock, challenge, and nonsense. They severely rebelled against the revulsions of the world war, the wantonness of European culture, the lack of foresight with the blind faith of technological advancement, and the ineffectiveness of religious and moral codes in a world of upheaval. Dismissing all convention, they looked for complete creative freedom.

Dadaism as an artistic style is quite hard to track. Unless one actively defines themselves as a Dadaist – Dadaism can become little more than an academic or artistic advisor labelling it as something it may or may not be. The reason for this lies in the very nature of Dada art, since its intent was to be in opposition for all norms of bourgeois culture the movement could barely be in support of itself. Further, Dada art varies so much so that it can often be considered as an incoherent style. As such it’s difficult to label something when the very idea of the movement is supposed to be anti-label. Consider then the difficulty of modern artists who like to delve into Dadaist attitudes and thoughts and create artworks based on Dadaism. Peter Fleming writes in 2015:

‘Dada was designed to be ghost-like and short-lived. An intransigent and inconsequential mockery of the vain conceit that cultural monuments stood for something immortal, something ever-lasting. Self-immolation was written into Dada's very DNA, its main aesthetic tenant its brevity and self-destructiveness. There are no world-renowned Dadaists on the scale of a Hemingway, or a Shostakovich, or a Picasso, and no Dadaist produced a particularly large body of work-- not least because so many of the good ones killed themselves as the ultimate expression in Dadaist performance art. If you've never even heard of the movement, you're hardly to be blamed-- the Dadaists were simply there one day-- like a wisp of smoke swirling briefly, illuminated by a moonbeam-- and the next were gone. Rarely do artistic movements fulfil their stated intentions so completely-- Dada was a fully-realized, soulless expression of Dionysian excess. A howl of existential despair.And a casualty of war.’

What many people do not realise is the artistic legacy that Dadaists have left on the structure of the art world. They have influenced various artists including Yoko Ono who reappropriated Duchamp’s urinal artwork, but to a more fundamental extent, the core of Dadaism has filtered through societal values as a way of life. This notion can be seen through the performance of contemporary artists such as Madonna and Lady Gaga, whose very popularity lies in their very acceptance of things outside the norm.


Having acquired Marinetti's talk and attack upon all imaginative and social customs, Dada was a noteworthy freeing development that keeps on inspiring innovation and rebellion. Dada was conceived as a challenge against war, and its ruinous and exhibitionist activities turned out to be more ridiculous and compelling after the Great War finished.

In 1921 and 1922, contention and contradiction broke out among its individuals, and the development split into groups as it tends to do after a movement has existed for a short time. French essayist Andre Breton (1896-1966), who was taking up with the Dadaists, rose as another pioneer who accepted that Dada had lost its importance and that the only way forward in its existence was to develop new relevance and direction; there he believed, were essential. Lacking a leader to tackle the movement and with its individuals confronting the new thoughts that in the long run would develop into Surrealism, Dada flopped and stopped to exist as an cohesive movement before the end of 1922.

Key Founders And Artists In The Dada Movement

Founder of Dada Art | Dada Art Founders

Historical Founders of Dada Art | Old Dada Artists

There are always some key figures in early art groups which later become the wholesome ideals of the early movement. This becomes more apparent when movements tend to shift away from their original intentions are separate into left and right wing schools of thoughts as what generally happens when movements become quite large. Below you’ll find a list of the key personalities in the early Dada movement ranging from true artists to muses who all share one ideology; that a work of art could be considered as life itself.

Marcel Duchamp

marcel Duchamp

Marcel Duchamp is credited with changing the future of art in a way that very few artists can claim to have influenced. Having survived the lessons of Cubism, Futurism, and Constructivism, which can be seen within his early paintings, he spectacularly led the American Dada movement. With the philosophies of previous avant-garde movements combined with a rejection of mass production, colonialism, and materialism Duchamp challenged the notion of what is art through the creation of readymades. These ‘readymades’ were his alternative to representing objects in paint and was his idea of presenting various objects as art themselves. These selections were often mass produced items which were available to all consumers by which he designated them as art and gave them a title. This notion sent shockwaves through the art world which can still be felt today as he both distorted and disrupted centuries of ideological discursive thinking about art and the artist’s role as a maker of unique handmade objects. Despite his refusal to be defined and labelled as adhering to any one particular artistic movement – much of Duchamp’s work can be seen as aligning itself with surrealists through the exploration of the mechanism of sexuality and desire. For this reason, as well as the notion that art should be driven first and foremost by ideas, Duchamp is often  considered as the father of conceptual art as he steadfastly refused to follow any conventional artistic movement and refused to be put into a box by critics or his peers.


Elsa Von Freytag-Loringhoven (1874-1927)

Elsa Von Freytag-Loringhoven (1874-1927)

This German baron’s widow became found her Dadaist nature in New York. Whilst she made a few artistic works herself in the form of paintings and poetry she also was featured in Duchamp and Man Ray’s film.The Baroness Shaves Her Pubic Hair. She was obsessed with Duchamp and it is rumoured that she was a fundamental figure in Duchamp’s famous urinal piece – which has transcended through the ages becoming more recently appropriated by Yoko Ono. Duchamp is rumoured to have stolen the credit for this artwork from Elsa as he stated in a letter to his sister that a ‘female friend’ of his ‘sent in a porcelain urinal as a sculpture’. Many art historians and academics are of the strong opinion that the urinal bears a strong resemblance to the work of Elsa.

Hannah Hoch (1889-1978)

Hannah Hoch (1889-1978)

Hannah was a leading figure within the Dada movement in Berlin. She specialised in collages and splicing images together from popular magazines, journals and fashion magazines in an artistic style heavily influenced by Cubism. Akin with all figures within the Dada movement, Hannah was primarily interested in providing a commentary on society of the time; which because of the war, the feminist movement, and drastic changes to production, was undergoing enormous social changes. Hannah quickly became a social critic and a lesbian who typified the ideals behind the liberated ‘new women’ of the Weimar Republic.

Man Ray (1890-1976)

Man Ray (1890-1976)

In 1915, Man Ray met French craftsman Marcel Duchamp, and together they teamed up on numerous creations and shaped the New York gathering of Dada specialists. However, Man Ray was convinced that ‘all New York is Dada’ and because of that there simply was not enough room for a rival. As such in 1921, Ray moved to Paris and got to be connected with the Parisian Dada and Surrealist circles of specialists and authors.  He specialised in the medium of photography but was also a master of multiple mediums and was often considered a spark plug of the American Dada movement. Once he moved to Paris though, he remained steadfastly connected to his true passion of photography. He eventually redefined the style of photography and focused on ‘rayographs’ the idea of producing abstract photography without the use of a camera.


Kurt Schwitters (1887-1948)

Kurt Schwitters (1887-1948)

Kurt Schwitters was a standout amongst the most captivating rebels of the art of the twentieth century. His craft is perpetually aligned with Dada, albeit individual conflicts kept him from being accepted formally into the movement. An ideal shared by a lot of those considered to be Dadaists. As with Duchamp, Schwitters nature meant that he would never be completely dedicated to any singular movement, even one of dissent. His absence of enthusiasm for governmental issues separated him from the fundamentals of German Dada’s, as did his abode in Hanover as opposed to Berlin like the majority of German Dadaists. By 1918, at 31 years old, he had found that he was not on a basic level a painter, but rather that for him the embodiment of workmanship lay in the blend of existing materials. In 1919 he named his own type of composition "Merz," to flag that his photos were unmistakable from Cubism, Expressionism, or even Dada, and after some time he extended the name to every one of his exercises, including verse and performance.

Sophie Taeuber (1889-1943)

Sophie Taeuber (1889-1943)

Her myriad of expression styles included painting, dance, woven artwork, drawing, embroidery, furniture and interior design, photography, structural planning, set outline and puppet making. She was one of the only Swiss members of Dad and curiosity being exemplified within her expression and artwork is her trademark. In Zurich, Sophie took an interest in the Dadaist exercises, dicing for Dada soirees at the Cabaret Voltaire from 1916 forward. She later began choreographing Dadaist works and making ensembles and sets.

Dadaism Today

Dadaism in Todays Society | Todays Dadaists

Who-Ha Dada Today | What is Dadaism Today


Sigmund Freud had many insights – one of his greatest was that he understood that we unconsciously use jokes to express truths that we have repressed or that we, for whatever reason, are unable to confront head on. This is where the mockery and satire of political movements originates from – rather than brutally confront an ideal or thought head on we create a satire or mockery of that ideal to show not only how unjust that it may be, but also to diminish some of its overarching power. This is one of the underlying key fundamental ideals to the mystery of Dada, which is an oft misjudged movement from the early 20th century. Dada arose from a combination of the key avant-garde movements and was a compelling and cutting edge movement in the years after world war one. Amid the heavy anti-colonialist ideals expressed by Dadaists among the spattering of European and American artists it sometimes seemed to come across as an organised group of pranksters. This can be further argued with the fact that Dadaism didn’t have a set genre and its idea of art was to be anti-art and as such was expressed in highly individual manners. What’s important to note is that Dadaists were not simply an expression of foolery and pranks – but that, despite the notion of anti-art – it paradoxically changed the way art is defined, made and consumed.


Subversive, comprehensive, and uneven, Dada never fit conveniently into the well-worn account of the evolution of modern art that has been put forward by some of the leading museums for the world. It is clear though, that Dada is a more important movement than a lot of academics and art historians give it credit for. Despite burning bright and short, the Dada movement left a devastating impression on the art world – the shockwaves of which can still be found in today’s artistry and artists. Dada started as an enthusiastic reaction to a world gone distraught. In the midst of the repulsiveness of the Great War, a global gathering of conservative draft-evading painters, artists, and entertainers took shelter in Switzerland. They saw patriotism as the root wickedness shredding Europe and accepted that a worldwide fellowship of specialists opposing damaging patriotism could lead the route to a superior future. Honourable as their objective might have been, these artists shared a radical, low brow idea of how to accomplish it. They concurred that art shouldn’t be concerned with perceived excellence and perfectionism, however that it ought to increase human familiarity with reality by any methods conceivable. They believed that society had been blindsided by the rapid succession of changes that came about with the late 19th century and early 20th century – that the rapidity of which society was changing was progressing at too fast a rate for any societal change to happen smoothly. As such, with the rise of mass production and the collective thought of the bourgeois, these artists shared the idea that society had lost much of its individuality and was merely progressing in a collective manner.


Tristan Tzara


Dada's goofy name—French infant talk for "hobby horse," and in addition Romanian for "yes, yes"— was picked aimlessly from a dictionary. Its best self-definition was composed by the artist Tristan Tzara: "Dada doute de tout/Dada esttatou/Tout est Dada/Méfiez-vous de Dada" ("Dada questions everything/Dada is an armadillo/Everything is Dada, as well/Beware of Dada"). That energetically conflicting blending of silly and logic gets right to the heart of the Dada soul. Dada, at its core is a paradox. Dada as an expression is a paradox.  Dada spoke the truth, it was hardly about philosophizing, and among its numerous forms of expressionism is performance. In January, a 77-year-old French execution craftsman named Pierre Pinoncelli pushed the present Dadaist movement into the foreground by vandalizing one of the works at the Pompidou. Wielding a mallet, Pinoncelli assaulted the work that Duchamp initially made in 1917 when he took a white porcelain urinal, flipped around it, marked it "R. Mutt"— after the Mutt and Jeff funny cartoon—and shrewdly titled it ‘Fountain’. Depicting his activity as "a wink to Dadaism," Pinoncelli chipped the artwork but it has since been repaired and a replica is being produced to protect the work.


With the work Fountain, Duchamp propelled a few progressive thoughts. By announcing an object of the lowliest function a sculpture, he put forth the argument that anything can be art if an artist states that it is. Since a readymade, as Duchamp called his discovered article pieces, isn't really manufactured by the artist, skill is no longer perceived as important. Without a doubt it is nothing. The same goes for the artists signature: If it no longer proves authenticity, you may very well also utilize the name of a cartoon character. Furthermore, since this urinal is undefined from any number of others, it's basically worthless—or it ought to be: The broken Duchamp was valued at $3.6 million. I guess in this regard, it’s the thought that counts.


By the mid-twenties Dada had diminished, however a few of its focal ideas—particularly incoherence and the force of the unconscious—were embraced by the Surrealists and abused to a greater extent. Dada's legacy is so pervasive, it's almost dismissed by being taken for granted and ignored. Be that as it may, these 90-year-old artworks still have the ability to titillate, sicken, and disgrace us. And this, is by no means a small achievement.



Dadaism vs Surrealism

Surrealism Vs Dadaism | Cubism Vs Dadaism

Contemporary Art Vs Dadaism | Who-Ha Dada Vs Surrealism


Most people have the belief that Paris was the place that Dadaism and Surrealism developed when it is the case that both forms of art originated a totally different time periods and as a result of different social connections.  It was during World War 1 that the Dada art form established itself as a result of the feeling of betrayal and of the differing social, political and racial classes.  It was formed by young people that were totally against the mainstream that allowed this to happen so began to promote themselves that they were anti mainstream art and hostile to all its standard forms.  These outcasts were based in Zurich and were against using or creating art for arts sake in its conventional for, rather opting to create a message regardless of how their art was perceived.  A long way from being against the essential thought of art, the Dada craftsmen endeavoured to discover better approaches to make new artist expressions in another ways, later developing into forms of media, performance, art and more as there were no boundaries that could be broken or taboos that would be used.


In reality Dada art was against mainstream so it proved difficult if not impossible to, by definition, have pioneers as how can you have pioneers in an art for that was self-described as being ‘anti art’. There were many advocates of the art form but not one that could be called the voice of Dadaism as how could Dadaism be defined – and if it was would it not become just another contemporary art from? One of the reasons for this was that an anti-art movement had no specific direction, style or technique. The only unifying feature between members was the goal of the protest as well as being considered as ‘anti-art’ – aside from this the movement itself had no unifying features, no cohesive styles ant it essentially consisted of artists which exemplified the motto ‘ every individual for themselves’. Dada specialists scattered crosswise over Europe after the Great War finished. None of the numerous focuses of Dada had a pioneer and Dada, maybe therefore, broke down after a couple of years into different directions like surrealism and cubism. Surrealism had a pioneer that originated from the dada art in the form of André Breton.

Andre Breton

It was workable for Surrealism to be driven basically in light of the fact that the gathering was independent in Paris rather than being separated by not only different cities, but also entire continents.. Breton was to some degree heavy handed for a pioneer of a cutting edge development, removing individuals who disappointed him or went against the ideals he held fast, however he held the gathering together for a quarter century, a rather surprisingly long life-span in comparison to other movements.

Surrealism rose in the 10 years of peace and flourishing after the war. The injuries left over by the War were either overlooked—as in the disregard of the surviving veterans—or celebrated—as in the erections of numerous monuments. Surrealism is basically a cerebral retreat of survivors who would prefer not to think back to the past. The Surrealist artists, authors, and visual craftsmen stage a mental retreat from reality, either past or present, and look for what the late artist, Guillaume Apollinaire, called "sur-reality," or an realist perspective that was both outside and beyond perceived reality. The backward way of Surrealism could be seen as healing, supplanting a forceful and public voice with a private investigation into the unconscious. Dada was reality-based and clearly political. Surrealism had moved far from an oppositional position towards a more theoretical position.


Surrealist artists

Sigmund Freud believe thoughts and personality were divided into cognizant and unconscious thoughts that gave humans their identity, their inner self their ego and their supe-ego.  Surrealists believe that with liberal expressionism of ones individual vision creates a nauseas art-for where a surrealists believe that their art typifies Sigmund Frueds theories of thoughts and consciousness in their work.  Typically surrealist art will be trying to find order in the human consciousness whereas dada finds disorder.

It is debatable whether Dada or Surrealism can be the better art form but it is undeniable that to a greater degree Dada artists were more imaginative than Surrealists that were bound by Freuds thinking in an art for.  Many Dada artist are proficient in other art forms but it is only through Dada art that they can have complete freedom of expression as anything is accepted.  Some great artists that painted exceptionally but escaped in Dada art are Paul Delvaus, Salvador Dali and Rene Magritte who all pained exceptionally in accepted forms but whilst doing so sacrificed their authenticity by limiting themselves to customary art forms and designs.

That being said, both developments work with Chance. Dada's utilization of chance was radical, a complete giving over of the craftsman to the oxymoronic "laws" of chance. Whether it is tossing bits of paper to create an abstract composition by chance or collecting irregular word and reconvening them as verse, Dada specialists were anarchic when it came to surrendering the inventive manner of thinking for procedure itself. Conversely, Surrealist craftsmen conveyed a mixed bag of delights, from programmed written work or the flawless cadaver, they therefore approached chance from another position.


The Surrealist artists looked for another method for composing "automatically," without consciousness and another method for discovering new pictures or thoughts that would happen within the creativity of collective groups. The Dada photomontage may have utilized the system of putting one haphazardly discovered picture by another, yet the expectation was to undermine significance. Surrealism looks for new significance, another importance, a startling importance, a sur-genuine significance - Surrealism needs life to mean something. Also, here is the pivotal contrast between Dada and Surrealism. For Dada, life has no significance, no reason, no reason, and no rationale. For Surrealism, life has significance; one needs to locate its rationale by opening visual and verbal codes discharged in the councils of the oblivious personality where one finds Freud's "uncanny."