and both men went to Paris in the same year to work
alongside other Dada artists. The Paris Group
included many who went on to establish Surrealism,
notably Andre ́Breton, Louis Aragon, Frances Pica-
bia, and Max Ernst. While in Paris, Man Ray
adopted a cameraless practice similar to Christian
Schad’s ‘‘Schadographs’’ in the early 1920s. How-
ever, unlike Schad, Man Ray used three-dimensional
objects to produce his ‘‘Rayographs,’’ or photo-
grams. These works typify the Dada spirit by effect-
ing an unexpected dialectical synthesis between
abstraction and figuration.
Man Ray later was associated with Surrealism,
whereas Duchamp continued exploring chance
operations typifying Dada anti-art irreverence. In
this effort, Duchamp created numerous enigmatic
self-portraits. One such image showed the artist’s
face covered in shaving cream arranged to suggest
the beard and horns of a satyr. This photograph
was montaged with a photographic detail of a roul-
ette table to create thirty fake 500 franc bonds.
These ‘‘bonds,’’ described as ‘‘artificial drawings’’
by Duchamp, were issued in an elaborate, half-
joke, half-serious effort to win money gambling at
Monte Carlo (1924). Such works illustrate many of
the strategies and techniques of Dada. The pho-
tomontaged ‘‘bonds’’ were attempts to destabilize
and undermine the status quo upon which the
bourgeoisie’s social dominance relied. Although
Dada’s anti-art efforts were short-lived, their influ-
ence persists to this day.
BRIANWinkenweder
Seealso: Futurism; Heartfield, John; History of
Photography: Interwar Years; Ho ̈ch, Hannah; Manip-
ulation; Man Ray; Montage; Photogram; SurrealismFurther Reading
Foster, Stephen, ed.Crisis and the Arts: The History of
Dada. New York: G.K. Hall, 1996.
Gale, Matthew.Dada & Surrealism. London: Phaidon, 1997.
Hays, K. Michael. ‘‘Photomontage and Its Audiences, Ber-
lin Circa 1922.’’Harvard Architectural Review(1988):
19–31.
Huelsenbeck, Richard, ed.The Dada Almanac (1920).Mal-
com Green, English edition, London: Atlas Press, 1992.
Lavin, Maud.Cut with the Kitchen Knife: The Weimar
Photomontages of Hannah Ho ̈ch. New Haven: Yale Uni-
versity Press, 1993.
Marien, Mary Warner.Photography: A Cultural History.
New York: Prentice, 2002.
Pachnicke, Peter and Klaus Honnef, eds.John Heartfield.
New York: Abrams, 1992.
Pegrum, Mark.Challenging Modernity: Dada between Mod-
ern and Postmodern. New York: Bergahn Books, 2000.
Rubin, William, ed.Dada, Surrealism and their Heritage.
New York: Museum of Modern Art, 1968.
Teitelbaum, Matthew, ed.Montage and Modern Life, 1919–
1942. Cambridge: The MIT Press, 1992.LOUISE DAHL-WOLFE
American
When Louise Dahl-Wolfe joined the ranks ofHar-
per’s Bazaarin 1936—a professional association that
would last 22 years—fashion photography was still a
fledgling field. At the turn of the century, publishers
had only begun to realize the benefits of magazines
geared towards women. The lavishly illustrated
monthlies were equally slow to accept photographs
in their pages. Moreover, of the handful of commer-
cial photographers who focused on fashion at the
time—from Baron de Meyer, Edward Steichen, and
George Hoyningen-Huene to Horst P. Horst—there
were few women. During her long career, Dahl-
Wolfe recorded highly modern visions of feminine
apparel and, by extension, sophisticated glimpses
into society’s mores at a time when the role of the
‘‘American woman’’ was undergoing radical change.
The youngest of three daughters, Dahl-Wolfe was
born in Alameda, California in 1895. Believing it was
lucky to have initials that spelled a word, her mother
named her Louise Emma Augusta Dahl. The Dahls
had come to America from Norway in 1872. A mar-
ine engineer, Dahl-Wolfe’s father had taken her to
shipyards, fostering in her a sense of adventure and
the knowledge that there was no place a woman
couldn’t go. Desiring to be an artist from an early
age, Dahl-Wolfe was urged by her sister to attend theDAHL-WOLFE, LOUISE