Raoul Hausmann -FALLING-

Raoul Hausmann (July 12, 1886 – February 1, 1971) was an Austrian artist and writer. One of the key figures in Berlin Dada, his experimental photographic collages, sound poetry and institutional critiques would have a profound influence on the European Avant-Garde in the aftermath of World War I. (WIKI)

I am inspired by his work as it is a follow on from looking at DADA art. I like the way his images are collages and can have multiple meanings and yet it is down to the audience to interpret it however they want.

Although, as I have mentioned, I am not looking as in depth to this as I would usually do, I am still heavily inspired. I love his work and feel it is really individual.
Due to the heavy topic I feel this is brilliant to bring into my research as it ensures I have explored all different areas of Existentialism.

Photomontage

"The photomontage became the technique most associated with Berlin Dada, used extensively by Hausmann, Höch, Heartfield, Baader and Grosz, and would prove a crucial influence on Kurt Schwitters, El Lissitsky and Russian Constructivism. It should also be pointed out that Grosz, Heartfield and Baader all laid claim to having invented the technique in later memoirs, although no works have surfaced to justify these claims."

                                            

The section below is from https://en.wikipedia.org/wiki/Raoul_Hausmann#cite_note-5 and wanted to reference. 

The Mechanical Head[edit]

Mechanical Head (The Spirit of Our Time), assemblage circa 1920

The most famous work by Hausmann, Mechanischer Kopf (Der Geist Unserer Zeit), "The Mechanical Head (The Spirit of Our Time)", c. 1920, is the only surviving assemblage that Hausmann produced around 1919–20. Constructed from a hairdresser's wig-making dummy, the piece has various measuring devices attached including a ruler, a pocket watch mechanism, a typewriter, some camera segments and a crocodile wallet.^[13]

"Der Geist Unserer Zeit – Mechanischer Kopf specifically evokes the philosopher George Wilhelm Friedrich Hegel (1770–1831). For Hegel...everything is mind. Among Hegel's disciples and critics was Karl Marx. Hausmann's sculpture might be seen as an aggressively Marxist reversal of Hegel: this is a head whose "thoughts" are materially determined by objects literally fixed to it. However, there are deeper targets in western culture that give this modern masterpiece its force. Hausmann turns inside out the notion of the head as seat of reason, an assumption that lies behind the European fascination with the portrait. He reveals a head that is penetrated and governed by brute external forces.^[14]