Jean Arp
    A Dadaist in Zurich which was sillier and freer than the other Dadist cities, his work made consistent use of a type of pictorial randomness.  For Arp, Dada was 'against art but for nature. Dada is direct like nature'.  He had two names, Jean and Hans, one French and one German.

Rectangles arranged according to Laws of Chance (c. 1916)
Torn and pasted paper.
Collection, The Museum of Modern Art, NY.

"A means of embodying, instead of just describing, logical and semantic breakdown" (Fer 32).  The idea of collage is carried over from the Cubists here, so even though there is the sense of a rejection of all that came before, there is still a sense of continutation and tradition.  The idea of chance was the great weapon of the avantgarde.  Arp said, "since the disposition of planes, and the properties and colours of these planes seemed to depend purely on chance, I declared that these works, like nature, were ordered to the 'laws of chance', chance being for me a limited part of an unfathomable raison d'etre, an order inaccessible in its totality."