Articles, Essays, Poems and Interviews
by Hans Richter
(Chronological order) |
| • |
“Nebel.” Les Hommes
Nouveaux-Neue Menschen, no. 1 (1911). Richter uses pseudonym. |
| • |
“Die Moral.” Les Hommes Nouveaux-Neue
Menschen, no.2 (1912). With pseudonym. |
| • |
“Vorwort.” In XXIX Collective Exhibition.
H. Richter, 0. Strohmeyer, L. Vorel (7 June-8 July 1916).
Exhibition catalogue. Munich: Galerie Hans Goltz, 1916. |
| • |
“Em Maler spricht zu den Malern.”
In Zeit-Echo 3, no. 1 and 2 (May/June 1917): 3-5, 19-23, illus.
p. 15. Also in Sankt Ziegenzack springt aus dem Ei, from the
series Texte, Bilder und Dokumente zum Dadaismus in Zurich,
Berlin, Hannover und Koln, ed. K. Schuhmann. Leipzig/Weimar:
Kiepenheuer Verlag, 1991: 105-109. Also in Hans Richter by
Hans Richter, ed. Cleve Gray (excerpt in English), p.31. |
| • |
“Gegen ohne für Dada.” In
Dada 4/5: Anthologie Dada, ed. T. Tzara (February 1919): 26.
Reprint: Rome/Milan: Mazzotta, Arturo Schwarz, 1970; Nice:
Centre du XXO siècle, 1976, ed. Michel Sanouillet,
p. 83. |
| • |
“Manifest Radikaler Künstler. Zurich.”
Neue ZurcherZeitung, 4 May 1919. Reprint: Neue ZurcherZeitung,
28 July 1979. Horizont-Flugschriften. Ed. Emil Szittya, Karl
Lohs, and Hans Richter. Vienna/Berlin, 1919. |
| • |
“Prinzipielles zur Bewegungskunst.”
De Stijl4, no. 7 (1921): 109-112. Reprint: De Stijl2 1921-1932,
ed. Ad Petersen, Amsterdam/The Hague: Athenaeum, Bert Bakker,
1968:
81-89; and Hans L. C. Jaffé, Mondrian und De StijI,
Cologne: DuMont Verlag, 1967: 135-137. |
| • |
“Erklarung der internationalen Fraktion
der Konstruktivisten des ersten internationalen Kongresses
der fortschrittlichen Künstler. Düsseldorf.”
30 May 1922. Signed: Hans
Richter, El Lissitzky, T. van Doesburg. De Stifl 5, no. 4
(1922): 59-65. Reprint: De Stijl2 1921-1932, ed. Ad Petersen,
Amsterdam/The Hague: Athenaeum, Bert Bakker, 1968: 203-204.
Also as “Nyilatkozat, felolvastatott a haladó
müvészek internacionáléjanak düsseldorfi
kongresszusàn” MA7, no. 8 (1922): 63. |
| • |
“Film.” De Still 5, no. 6 (1922):
91-92. Reprint: De Stifl 2 1 921-1932, ed. Ad Petersen, Amsterdam/The
Hague: Athenaeum, Bert Bakker, 1968:228; and Hans L. C. Jaffé,
Mondrian und Do StJ1, Cologne: DuMont Verlag, 1967: 171-173. |
| • |
“K. I. Konstruktivistische Internationale
schapferische Arbeitsgemeinschaft.” (Weimar) September
1922. Signed: Theo van Doesburg, Hans Richter, El Lissitsky,
Karel Maes, Max Burchartz. De Still 5 (1922), 113-119. Reprint:
De StijI 2 1921-1932, ed. Ad Petersen, Amsterdam/The Hague:
Athenaeum, Bert Bakker, 1968: 247-250. |
| • |
Letter to Tristan Tzara, dated 2 December 1922.
Bibliothéque Nationale, Paris, Bibliothèque
Littéraire Jacques Doucet, Paris. Also in Film a/s
Film-1910 bis heute, ed. Birgit Hem and WuIf Herzogenrath,
Cologne: Kölnischer Kunstverein, 1977: 23. |
| • |
“Film.” De StijI 6, no. 5 (1923):
65-66. Reprint: Do Still 2 192 1-1932, ed. Ad Petersen, Amsterdam/The
Hague: Athenaeum, Bert Bakker, 1968:377; and Hans L. C. Jaffé,
Mondrian und De Still, Cologne: DuMont Verlag, 1967: 188-189. |
| • |
“Konstruktivizmus.” MA 8, no. 9-10
(1923): 4-5. G. Zeitschrift für elementare Gestaltung.
Ed. Hans Richter. Nos. 1—5/6 (1923—26). Reprint:
ed. Marion von Hofacker, Munich: Kern Verlag, 1986. An author
index to the five issues appears as “Great Little Magazines,
G,” Form, no. 3 (15 December 1966): 26—31. |
| • |
“Material zur elementaren Gestaltung.”
G, no. 1 (July 1923): 1-2; no. 3 (June 1924): 1-3. |
| • |
“Die Eroberung der Maschinen.”
G, no. 3 (June 1924): 24. |
| • |
“Prag.” G, no. 3 (June 1924): 28. |
| • |
“Die schlecht trainierte Seele.”
G, no. 3 (June 1924): 34-37. Reprint also in Richard Huelsenbeck,
ed., Dada-Eine literarische Dokumentation, Reinbek bei Hamburg:
Rowohlt, 1964: 96-100. English version: “The Badly Trained
Sensibility,” Image 2, no.6 (October 1965): 18-19. |
| • |
“Kurt Schwitters.” G, no. 3 (June
1924): 47. |
| • |
“Arp.” G, no. 3 (June 1924): 9. |
| • |
“De Stiji.” G, no. 3 (June 1924):
58. |
| • |
“L’Esprit Nouveau.” G, no.
3 (June 1924): 60. |
| • |
“DerQuerschnitt.” C, no.3 (June
1924): 61. |
| • |
“An den Konstruktivismus.” G, no.
3 (June 1924): 62. |
| • |
“Der neue Baumeister.” Qualität,
Internationale Propaganda. Zeitschrift für Qualitatserzeugnisse
4, no. 1/2 (January! February 1925). |
| • |
‘Rhythm.” Little Review (Winter
1926): 21. |
| • |
“Vorwort.” C, no.4 (March 1926):
1. |
| • |
“Arp und die elementare Gestaltung.”
G, no. 4 (March 1926): 9. |
| • |
“Die Kunst von heute: Ausstellung abstrakter
Kunst. Paris. December 1925.” G, no. 4 (March 1926):
11-14. |
| • |
“Viking Eggeling.” G, no. 4 (March
1926): 14-16. |
| • |
“Filmmanifesto.” [Signed “G.”]
G, no. 5/6 (April 1926): 1-2. |
| • |
“Notes.” C, no. 5/6 (April 1926):
6. |
| • |
“Dimension.” G, no. 5/6 (April
1926): 8. |
| • |
“Teil einer Partitur zu dem Film Rhythmus
25.” G, no. 5/6 (April 1926): 11. |
| • |
“Fuge aus einem absoluten Film (I).”
G, no. 5/6 (April 1926): 17. |
| • |
“Die eigentliche Sphãre des Films.”
G, no. 5/6 (April 1926): 18. |
| • |
“Kitsch ist nahrhaft.” G, no.
5/6 (April 1926): 20. |
| • |
“Bisher.” G, no. 5/6 (April 1926):
23. |
| • |
“Geschichte ist das, was heute geschieht.”
G, no. 5/6 (April 1926): 24. |
| • |
“Die reine Form ist die Natürliche.”
C, no. 5/6 (April 1926): 27-8. |
| • |
“Die Nutte siegt.” G, no. 5/6 (April
1926): 31. |
| • |
“Kino und Kultur.” Weekly page,
ed. Johannes M. Richter, in Tagliche Rundschau (Berlin), 28
December 1926—1 April 1928. [Almost all of the articles
for this page are signed “R”, “H. R.”
or “R The name Johannes M. Richter is identical with
the name appearing on official documents belonging to Hans
Richter. According to Richter (in Käpfe undHinterkäpte,
p. 173), he was art, music, and film editor of the Tagliche
Rundschau. |
| • |
“Neue Mittel der Filmgestaltung.”
Die Form. 4, no. 3 (1929): 53-6. Reprint: Die Form, ed. Felix
F. Schwartz, Frank Gloor, Gütersloh: Bertelsmann, 1969:
230-32; and Die
Zwanziger Jahre. Manifeste und Dokumente Deutscher Kuntler,
ed. Uwe M. Schneede, Cologne: DuMont Verlag, 1979: 259-62. |
| • |
“Aufgaben elnes Filmstudios.”
Die Form 4, no. 3 (1929): 72. |
| • |
“Der absolute Film braucht die Industrie.”
An interview with Hans Richter. Film-Kurierl0, no. 6 (5 January
1929). |
| • |
“Avantgarde im Bereich des Möglichen.”
Flim-Kurier, special issue entitled Zehn Jahre FiIm-Kurier(1
June 1929). |
| • |
“Film von Morgen” Das Werk 16,
no. 9 (1929): 278-84. Polish translation as “Film Jutra,”
Praesens, no. 2 (May 1930): 160- 65. |
| • |
“Der Moderne Film.” Fl/mugs Amsterdam 3, no.
6 (March 1930). |
| • |
“Richtigstellung.” Lichtbildbuhne
(April 1930). Reply to a review of one of Richter’s
lectures in FlIm-Kurier (8 March 1930). |
| • |
“L’objet en mouvement.” Cercle
et Carré (Paris), no. 3 (June 1930). Reprint: Cercle
et Carré, ed. Michel Seuphor, Paris, 1971: 133-1 35. |
| • |
“Letter” by Hans Richter to the
editor on the filming of “Romance Sentimentale.”
Film-Kurier 12, no. 212 (8 September 1930). |
| • |
“Der Film—eine Ware.” ArbeiterbUhne
und Film, no. 4 (1931): 24-26. Reprint: Cologne: DuMont Verlag,
1974. |
| • |
“Von der statischen zur dynamischen
Form.” Plastique (Paris), no. 2 (1937): 12-18. Reprint:
Richard Huelsenbeck, ed., Dada, eine literarische Dokumentation,
Rein-beck: Rowholt Verlag, 1964: 250-252. |
| • |
“Kulturfilm als Kunst.” Der Geistesarbeiter.
Organ des Schweiz. Schrittsteller-vereins und gesellschaft
Schweiz. Dramatiker 17 (April 1938): 49-56. |
| • |
“La vie courte mais féconde du
film d’avant garde.” Unpubcuments lished manuscript,
dated July 1939. 6 pp. |
| • |
“Wahrheit im Film.” Neue ZurcherZeitung,
14 January 1940. Advance excerpt from Der Kampf urn den Film. |
| • |
“Urkino.” Neue ZurcherZeitung,
25 February 1940. Advance excerpt from Der Kampf urn den Film. |
| • |
“Urkino II.” Neue ZurcherZeitung,
21 April 1940. Advance excerpt from Der Kampf urn den Film. |
| • |
“Der Film Essay: Eine neue Form des Dokumentarfilms.”
Nationalzeitung, supplement, 25 May 1940. Reprint: Schreiben
Bilder Sprechen, ed. Christa Blumlinger and Constantin Wulif,
Vienna: Sonderzahl, 1992: 195. |
| • |
“Quelques instants avec Hans Richter
avant son depart pour l’Amerique.” Interview with
Serge Lang. La Revue de l’Ecran (Paris) 4 (3 April 1941):
387-B, col. 5. |
| • |
“Post-War Planning and Documentary Film.”
Unpublished manuscript, 1941. 11 pp. |
| • |
“Die Entwicklung des politische Film.”
Deutsche Blätter2, no. 1(1944): 21-24, and 2, no. 2 (1944):
17-20. In collaboration with Jat Leuda. Reprint: Karsten Witte,
ed., Theorie des Kinos Traum fabrik, Frankfurt: Suhrkamp Verlag,
1972: 61-78. |
| • |
“Cinema américain d’avant-garde.”
Style en France. Special issue of Cinema, no. 4 (July-September
1946): 96-97. |
| • |
“Voir du merveilleux.” La Revue
du Cinema 2, no. 7 (1947): 15-18. Reprint: Pierre Lherminier,
L’Art du cinema, Paris, 1960: 468. |
| • |
“A History of the Avantgarde.”
In Art in Cinema, ed. Frank Stauffacher. San Francisco: Art
in Cinema Society, San Francisco Museum of Art, 1947: 6-21. |
| • |
“Avantgarde Film in Germany.”
In Experiment in the Film, ed. Roger Manvell. London: Grey
Walls Press, 1949. Reprint: New York: Arno Press, 1970: 218-233.
German version:
“Der avantgardistische Film in Deutschland
(von 1921— 1951),” Cineaste special issue of
Deutsche Filrntage Gättingen (1953): 13—23. Also
in Italian as “II cinema d’avanguardia
in Germania.” L’occhio tagliato, docurnenti del
cinema dadaista e surrealista. Edition Martano. No. 10 (1972):
92. |
| • |
“The Avantgarde Film Seen from Within.”
Hoilywood Quarterly4, no. 1 (Fall 1949): 34-41. |
| • |
“Hans Richter. Painter-Film Producer”.
Collection of the Société Anonyme. Museum of
Modern Art 1920. New Haven: Yale University Art Gallery, 1950:
171-1 72. |
| • |
“Minnesord.” In the exhibition
catalogue Viking Eggeling 1880-1925. Technare och filmkonstuar.
Stockholm, 27 October-19 November 1950: 9-10. |
| • |
“Dada X Y Z.” In The Dada Painters
and Poets, ed. Robert Motherwell. New York: Wittenborn, Schultz,
1951: 283-290. Originally written in 1948. |
| • |
“The Film as an Original Art Form.”
College Art Journal 10, no. 2 (1951): 157-161. German version:
“Der Film als selbstandige Kunstform,” in the
exhibition catalogue Hans
Richter Maler und Filmschäpfer, Berlin: Akademie der
Künste, 1967: 3-9. Also in Avantgardistischer Film 1951-1971,
ed. Gottfried Schlemmer, Munich: Hanser Verlag,
1973: 16-18. French version: “Un art original. Le film.”
Cahiers du Cinema 2, no. 10 (March 1952): 11-15. Italian version:
“II film arte originale.’ Sette Arte (Ivrea) 1,
no. 1 (1952): 73-74. |
| • |
“II film come forma d’arte originale.”
La Biennale di Venezia, no. 4 (April 1951): 29-30. |
| • |
“Anatomie de l’avant-garde.”
L’Age du Cinema (Paris), no. 3 (June/July 1951): 3-6. |
| • |
“Histoire de l’avant-garde allemande
1918-1930.” L’Age du Cinéma (Paris), no.
6 (1951): 20-24. A revised version of “Avantgarde Film
in Germany.” |
| • |
“Vita privata del movimento ‘dada’
191 6—1918.” La Biennale di Venezia, no. 7 (January
1952): 16-21. |
| • |
“Easel-Scroll-Film.” Magazine of
Art 45 (February 1952): 78-86. |
| • |
“Film and Painting.” College Art
Journalll (1952): 10-14. |
| • |
“Funzione del cinema sperimentale.”
Cinema, no. 97 (No-vember 1952): 222-226. |
| • |
“Il film di avanguardia il film astratto
e il futurismo.” Cinema Italiano, no. 12 (December 1953):
39-44. Original manuscript, “The Avantgardefilm and
Futurism,” July 1953, 5 pp. This is a reply to Antonio
Giullo Bragaglia, “Richter e futuristi,” Cinema
Italiano, no. 3 (1953). |
| • |
“Max Ernst: sincerità-serietà-immaginazione-gioia.”
La Biennale di Venezia, no. 19/20 (April 1954): 32-36. |
| • |
“Otto stone sugli scacchi.” La
Biennale di Venezia, no. 22 (September/October 1954): 15-20. |
| • |
“Film as an Original Art Form.”
Film Culture 1, no. 1 (January 1955): 19-23. Reprint: Film:
A Montage of Theories, ed. Richard Dyer MacCann, New York,
1966: 180-186; Film
Culture Reader, ed. P. Adams Sitney, New York, 1970: 15-20. |
| • |
“Eight Free Improvisations on the Game of Chess.”
Film Culture 1, no. 1 (January 1955): 36-38. |
| • |
“Frank Stauffacher.” Film Culture
1, no. 5/6 (Winter 1955): 4-5. |
| • |
“8 x 8. Hans Richter’s Latest Experimental
Film.” Film Culture 1, no. 5/6 (Winter 1955): 17-19. |
| • |
“Theory and Experiment in the Modern Film.”
In Erkenntnis und Aktion. Vortrage und Gesprache des Europaischen
Forums Alpbach 1955. Berlin: Otto Molden, 1955: 190-204. |
| • |
“In Memory of Two Friends: Fernand Léger 1881-1955.”
College Art Journal l5, no. 4(1956): 340-343. |
| • |
“In Memory of Two Friends: Yves Tanguy.”
Coilege Art Journall5, no. 4(1956): 343-346. |
| • |
“Fernand Leger.” La Biennale di
Venezia, no. 27 (March 1956): 5-6. Identical to “In
Memory of Two Friends.” |
| • |
“Yves Tanguy.” La Biennale di
Venezia, no. 27 (March 1956): 27-28. Identical to “In
Memory of Two Friends.” |
| • |
“8 x 8—An Interview with Hans Richter
by Gideon Bachmann.” Film and TV Music 16, no. 2 (Winter
1956): 19-20. |
| • |
“Dada and the Film.” In Dada.
Monograph of a Movement— Monographie einer Bewegnung—Monographie
d’un mouvement, ed. Willy Verkauf. New York: George
Wittenborn, 1957: 64-73. Teufen, Switzerland: Arthur Niggli,
1958, 1961, and 1965: 57-66.
|
| • |
“Beginnings of German Abstraction.”
In The World of AbstractArt. New York: The American Abstract
Artists, 1957: 3740. |
| • |
“30 Years of Film Poetry. Self-Expression and Communication.”
Unpublished manuscript, c. 1957. 8 pp. |
| • |
“Hans Richter on the Nature of Film
Poetry. An Interview by Jonas Mekas.” Film Culture 3,
no. 11(1957): 5-8. |
| • |
“8 X 8.” Cinema Nuovo4, no. 113(Septemberl957):
118-119. |
| • |
“Al posto del cannone Ia macchina da
scrivere.” Cinema Nuovo4, no. 114-115 (September 1957):
164-165. |
| • |
“Film as a Part of Modern Art.”
Unpublished essay by Hans Richter submitted for Graham Foundation
Grant. New York, 1958. 2 pp. |
| • |
“Filmen son konstform.” In Apropá
Eggeling, ed. K. G. Hulten. Stockholm, 1958: 8-14. |
| • |
“Om Viking Eggeling.” In Aprop
Eggeling, ed. K. G. Hultén. Stockholm, 1958: 15-17. |
| • |
“8 X 8.” Brochure to the film
Fifth Avenue Theatre. New York, 1958. |
| • |
“A Clowning out of the Void.” Review
of the U.S. edition of Willy Verkauf’s Dada. Monograph
of a Movement. Saturday Review, 1 February 1958: 20. |
| • |
“Glorified Juke Box and Activated Sound.”
Herald Tribune. March 1958. Manuscript: 4ff. |
| • |
“On the Function of Film History Writing.”
Film Culture 4, no. 3 (April 1958). Entire sequel, no. 18:
25-26. |
| • |
“Der Zufall.” In Dada. Dokumentation
einer Bewegung, ed. K. H. Hering and E. Rathke. Exhibition
catalogue. Düsseldorf: Kunstverein für die Rheinland
und Westfalen, Kunsthalle, 1958: 104-105. |
| • |
“Dada ist tot, es lebe Dada.”
Magnum 22 (February 1959): 11-12. |
| • |
“Experiment als Lebenselexier. Em Gesprach
mit Hans Richter von Willy Rotzler.” Die Weltwoche 27,
no. 1321 (1959): 5. |
| • |
“Peinture et film.” XXe Siècle
21, no. 12 (May/June 1959): 25-28. |
| • |
“Gesprach mit Hans Richter von Friedrich
Bayl.” Art International3, no. 1-2 (1959): 54-55. |
| • |
“Von der Malerei zum Film.” Frankfurter
Allgemeine Zeitung, 20 June 1959. |
| • |
“Letter to Piero Dorazio”, dated
27 July 1959. In Piero Dorazio. Exhibition catalogue. St.
Gallen: Galerie Im Erker, 28 May-16 July 1966. |
| • |
“Letter to Walter Mehring”, dated
March 1959. In Walter Mehring, Berlin Dada. Zurich: Arche
Verlag, 1959: 89-90. |
| • |
“Vorwort.” In Adrien de Menasce
exhibition catalogue (10 February-12 March 1960). Zurich:
Galerie Charles Lienhard, 1960: 3-4. |
| • |
“Dada Profiles.” In Arts Yearbook,
vol. 5: Perspectives on the Arts, ed. Hilton Kramer. New York:
Art Digest, 1961: 11-36. Excerpts on Duchamp, Lehmbruck, Ball,
Hennings, Grosz, Tzara, Huelsenbeck, Baader, van Doesburg,
Man Ray, Schwitters. |
| • |
“Dichter, Denker, Dadaisten.” DU
21, no. 242 (April 1961): 55-57. Advance publication of Dada-Profile. |
| • |
“Intervju med Hans Richter with L. Sjoberg.”
Konstrevy 37, no. 3(1961): 88-93. |
| • |
“Be Be (= Bewegte Bewegung).”
Blätter und Bilder. Zeitschrift für Dichtung, Musik
und Malerei, no. 13 (March/May 1961): 48-53. |
| • |
“Je ne suis pas un cinéaste Positif.
Revue do Cinema, no. 40 (July 1961): 1-3. |
| • |
“From Interviews with Hans Richter during
the Last Ten Years.” (By Jonas Mekas, Gideon Bachmann,
and with the Danish Film Museum.) Film Culture, no. 31 (Winter
1963/64): 26-35. Excerpt in Film als Film-1910 bis heute,
ed. Birgit Hem and WuIf Herzogenrath, Cologne: Kölnischer
Kunstverein, 1977: 21. |
| • |
“Introduzione a Dadascope’.”
La Città 3 (June 1964): 53-54. |
| • |
“Dadaismo-surrealismo-cinema sperimentale.”
La Città 3 (June 1964): 59-68. |
| • |
“Dalla pittura moderna al cinema moderno.”
La Biennale di Venezia, no. 54 (September 1964): 3-13. |
| • |
“My Experience with Movement in Painting
and Film.” In The Nature and Art of Motion, ed. Gyargy
Kepes. Vision and Value Series. New York: George Braziller,
1965. German version: “Meine Erfahrungen mit Bewegung
in Malerei und Film,” in Wesen und Kunst der Bewegung,
ed. Gyorgy Kepes, Brussels: La Connaissance, 1969: 142-156. |
| • |
“Témoignages: Hans Richter.”
Etudes Cinématoraphiques, no. 38-39 (1965): 55-56. |
| • |
“Arp se levant derriere un nuage.”
In Jean Arp-Hans Richter. Exhibition catalogue. Paris: Galerie
Denise René, 1965. |
| • |
“The Badly Trained Sensibility.”
Image 2, no. 6 (October 1965): 18-19. Originally published
in German as “Die schlechttrainierte Seele,” G,
no. 3 (June 1924): 34-37. |
| • |
“Stolpern.” Neue ZurcherZeitung,
5 February 1966, morning issue, pp. 5/6. |
| • |
Introduction to “Great Little Magazines,
G.” Form, no. 3 (15 December 1966): 27. |
| • |
“Le origini del film astratto.”
L’Arte Moderna 6, no. 54 (1966): 367-371. |
| • |
“Bemerkungen zu meinen Arbeiten.”
Hamburger Fllmgespräche III. Hamburg: Hamburger Gesellschaft
für Filmkunde, 1967: 19-24. |
| • |
“Begegnungen in Berlin.” In Avantgarde
Osteuropa 1910— 1930. Exhibition catalogue. Berlin:
Deutsche Gesellschaft für Bildende Kunst/Akademie der
Künste, October/November 1967: 13-21. |
| • |
“Letter to Helga Kliemann”, dated
25 November 1967. In Helga Kliemann, “Die Novembergruppe.”
Bi!denkunst in Berlin 3 (1969): 78. Reprint: Kunst-Metropole
Berlin 19 18-1933, ed. B. Schrader and J. Schebera. Berlin
and Weimar: Aufbau-Verlag, 1987: 45-46. |
| • |
“Step by Step.” Studies in the
Twentieth Century, no. 2 (Fall 1968): 7-20. Also in Form,
no. 9 (April 1969): 21-25. |
| • |
“L’avant-garde allemande des années
vingt.” Carl Mayer e l’Expressionismo. Rome: Edizioni
di Bianco e Nero, 1968: 169-174. |
| • |
“In Memory of Marcel Duchamp.”
Form, no. 9 (April 1969): 4-5. |
| • |
“Ich über mich.” Civilté
delle macchine. Rivista bimestrale di cultura contemporanea
17, no. 3 (May-June 1969): 37-48. |
| • |
“In Memory of a Friend (Marcel Duchamp).”
Art in America 57, no.4 (July-August 1969): 40-41. |
| • |
“Foreword” and two color lithographs
[based on Giuseppe Ungaretti’s text “Ultimi con
per La Terra Promessa”. In Images and Words. Translated
by Paul Celan. Milan: M’Arte
edizioni, 1970. |
| • |
“Reflections on Dymos.” Poem in
exhibition catalogue. Milan: Galleria del Naviglio, 24 October-8
November 1970. |
| • |
“The World between the Ox and the Swine.
Dada Drawings by Hans Richter.” Bulletin of Rhode Island
School of Design 57, no. 3-4 (August 1971): 56 pp. Exhibition
catalogue with interview between Daniel Robbins and Hans Richter. |
| • |
“Pittura moderna: cinema moderno 1910—1970/Modern
Painting: Modern Film 1910-1970. Dynamism and Kine-tism.”
Quintaparete. Documenti del surrealismo, no. 3 (January 1972):
8-10, 12-13. |
| • |
“Viking Eggeling.” Studio International
Journal of Modern Art 183, no. 942 (March 1972): 9799 |
| • |
“Marcello Pirro.” Poem in exhibition
catalogue Hans Richter/Pirro. Venice: Edizione Cooperativa
Libreria Università, 1972. |
| • |
“Massimo de Stefani.” In exhibition
catalogue. Turin: Galleria L’Approdo, 9-23 January 1973:
8. |
| • |
“Hans Richter et le futurisme.”
Espaces. Documents XXe Siècle 2 (Fall 1973/74): 7-8. |
| • |
“Der Film als selbstandige Kunstform.”
In Avantgardistischer Film 1951-1971: Theorie, ed. G. Schlemmer.
Munich: Carl Hanser Verlag, 1973: 16. |
| • |
“Si.” Poem in exhibition catalogue
Walter Valentini l’assessorato aila cultura. Urbino:
in collaborazione con Ia stamperia Posterula, 1975. |
| • |
Jay E. Kent. Exhibition catalogue. Turin: L’ApprodoArte
Moderno, 1975. |
| • |
“The First Day,” “Fullfilment,”
“Counter, counter.” Poems in L’Europa letteraria
e artistica 1, no. 2 (February/March 1975): 96-98. |
| • |
“The Private Life of an Arrow.”
Poem in Early Form Sequences 1927-1932 Kurt Kranz. |
| • |
Hamburg: Verlag Hans Christians/Cambridge,
Mass.: MIT Press, 1975: 7 |
| • |
“ I miei primi incontri con l’amico
Federico Fellini.” Cinema Nuovo 15, no. 240 (March/April
1976): 101-103. |
| • |
“Chaos.” Stereo Headphones, no.
7 (1976): 38-39.
“Mostra personale di Massimo de
Stefani.” In Massimo de Stefani exhibition pamphlet,
no. 154. Turin, Galleria L’Approdo, 16 April-8 May 1977 |
Books, Pamphlets
Written by Hans Richter |
| • |
“Dada Art and Anti-Art”
Author: Hans Richter.
Publisher: Thames & Hudson.
Translated by David Britt.
“One of the
best and most consistently interesting documents on this extraordinary
movement that has been published.” — The Sunday
Times
“A first-rate history, objective and
sober.” — The Times
“Hans Richter
is the ideal chronicler.” — The Guardian
“Where and how Dada began is almost as difficult to
determine as Homer’s birthplace,” writes Hans
Richter, the artist and filmmaker closely associated with
this radical movement from its earliest days. Here he records
and traces Dada’s history, from its inception in wartime
Zurich, to its collapse in Paris in the 1920s when many of
its members were to join the Surrealist movement, to the present
day when its spirit re-emerged in the 1960s in movements such
as Pop Art. This absorbing eye witness narrative is enlivened
by extensive use of Dada documents, illustrations and texts
by fellow Dadaists. The complex personalities, relationships
and contributions of, among others, Hugo Ball, Tristan Tzara,
Picabia, Arp, Schwitters, Hausmann, Duchamp, Ernst and Man
Ray, are vividly brought to life.
|
| • |
“Hans Richter by Hans Richter”
Author: Hans Richter.
Publisher: Holt Reinhart Winston
A stunning visual presentation of Richter's works, including
125 b/w plates and 16 pages of colour plates. Hans Richter
is universally known as a filmmaker, sculptor, painter and
writer. From his student days to the making of the first abstract
film to the 1970s, he strived for reconciliation between conflicting
tendencies of liberty and order, chaos and structure, spontaneity
and deliberation. This illustrates the life and work of a
man who expresses his passion for life and for art with an
outpouring of objects.
Illustrated volume of memoirs and a selection of magazine
articles, essays, and poems by Richter.
|
| • |
“Hans Richter Pioneer of Dada and the
Experimental Film”
Author: Hans Richter.
Publisher: Thames & Hudson, London
|
| • |
“The Struggle for the Film” Towards
a socially responsible cinema.
Author: Hans Richter.
Publisher: Wildwood House.
Translated by Ben Brewter.
|
| • |
“Dada 1916-1966” Documents of
the International Dada Movement.
Author: Hans Richter.
Publisher: Goethe-Institut, Munich.
Translations in German/English/French. "Dada was once
a social scandal; today it is a page of history. It represented
an epoch more even than the war---to spite which the first
Dadaists gathered in Zurich in 1916. "
|
| • |
“Hans Richter, art 1905-1966”
Author: Hans Richter.
Publisher: Finch College Museum of Art.
|
| • |
“Sur Dada” Essai sur l’Experience
Dadaiste de l’Image. Entretiens avec Hans Richter.
Authors: Hans Richter and Philippe Sers.
Publisher: Editions Chambon, Nimes.
|
| • |
“Hans Richter Introduction By Sir Herbert
Read”
Author: Hans Richter.
Publisher: Editions du Griffon, Neuchatel.
|
| • |
“Universelle Sprache”.
Pamphlet written in collaboration with Viking Eggeling. Forst
in der Lausitz, 1920. Probably no longer extant.
|
| • |
“Filrngegner von heute—Filmfreunde
von morgen”.
Written in collaboration with Werner Graft. Programmatic text
for the film section of the Stuttgart Werkbund exhibition
of 18 May-17 July 1929. Berlin: Hermann Reckendorf Verlag,
1929. Reprint: H. R Manz ed., Filmwissenschaftliche Studientexte
II, Zurich: Hans Rohr Verlag, 1968. Reedition: introduction
by Walter Schobert, Frankfurt: Fischer Taschenbuch Verlag,
1981.
|
| • |
“Film: Gisteren, heden, morgen”.
Pamphlet written for the Dutch Filmliga. Special edition of
the review Filrnliga Amsterdam8 (1935), no. 7/8.
|
| • |
“Der Kampf um den Film”. Written
in Carabietta, Switzerland, 1934-39. Ed. Jurgen Römhild.
Munich: Carl Hanser, 1976.
Reedition: Frankfurt: Fischer Taschenbuch Verlag, 1979.
Foreign language editions: Moscow, 1981, and The Struggle
for the Film: Toward a Socially Responsible Cinema, New York:
Scolar Press, 1986.
|
| • |
“Film and Progress”. Not published
in full; published in part in the Neue Zurcher Zeitung. American
version of Der Kampf um den Film, prepared in collaboration
with Herman Weinberg, New York, 1939—42.
|
| • |
“Dreams That Money Can Buy”. Program
pamphlet. Texts by Man Ray, Louis Applebaum, John Cage, Richard
Huelsenbeck, Siegfried Kracauer, J. Sweeny. New York: Films
International of America, 1947.
|
| • |
“The Minotaur”: A Film Project.
Pamphlet. New York: H. R. Productions, 1951.
|
| • |
“Dada-Profile”, in the series Sammlung
Horizont. Zurich: Die Arche Verlag, 1961.
|
| • |
“Dada, Kunst und Antikunst”. Cologne:
DuMont Verlag, 1964. Third, revised, and expanded edition,
1973. Foreign editions: London: Thames & Hudson, 1966;
New York: McGraw-Hill, 1965; Brussels: Editions de La Connaissance,
1965; Tokyo: Bijutsu shuppan-sha, 1966; Milan: Mazzotta, 1966;
Buenos Aires, 1973.
|
| • |
“Hans Richter, Monographie”. Ed.
Marcel Joray for the series Kunst des 20. Jahrhunderts. Illustrated
volume of a selection of Richter’s work and an autobiographical
text. Neuchatel, Switzerland: Editions du Griffon, 1965.
|
| • |
“Dada 1916-1966”. Dokumente der
internationalen Dada118 Bewegnung. Munich: Goethe Institute,
1966. Catalogue to the Goethe Institute DADA” exhibition.
Compiled with commentary by Hans Richter.
|
| • |
“Kopfe und Hinterkopfe”. Zurich:
Die Arche Verlag, 1967.
|
| • |
“Begegnungen von Dada bis heute. Briefe,
Dokumente, Erinnerungen”. Cologne: DuMont Schauberg,
1973. The English translation has not been published.
|
| • |
“Hans Richter: Opera grafica dal 1902
al 1969”. Ed. Olivio Galassi. Pollenza: La Nuova Foglio,
1976. Illustrated volume of graphic works and annotations
on Richter’s life and work.
|
| • |
“Le Teste di Hans Richter, 1960-1965”.
Designs, thoughts and poetry, compiled by Sergio Grandini.
Lugano: Stampatore G. Topi, 1977. |
| |
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