Abstract
Abstract This article examines five found objects and assemblies created by Dada artist Baroness Elsa von Freytag-Loringhoven: Enduring Ornament (1913), Cathedral (c. 1918), Earring Object (1917–1919), Limbswish (1917–1919), and a now lost textile circle. These works, obscured for a long time, symbolize the historic silencing of Dada women. By merging feminist theories of performance, trash, and Dada, this article argues that the Baroness’s use of discarded materials generates radical destabilizations, infusing her work with affect, memory, and transatlantic connections to avant-garde artists. Drawing on new archival sources, the article situates the Baroness within the queered dynamics of The Little Review circle, revealing her interactions with figures such as Margaret Anderson, Jane Heap, and Allen C. Tanner, key figures of the queered avant-garde.
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