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This is the first comprehensive study of bodily images in Dada. Travelling between the international centres of the movement, from Zurich to Berlin, Paris to New York, it examines a diverse range of media, including art, literature, performance, photography and film. Its overall approach is to confront Dada’s bodily images not as organic unities but as fictions that reflect on the disjunctive, dehumanised society of war-torn Europe. These fictions occupy an ambivalent space between the battlefield (in their satirical exposure of ideology) and the fairground (in their playful manipulation and joyful renewal of the body). The book features analyses of works by Max Ernst, Francis Picabia, Hannah Höch, Marcel Duchamp and others, and will appeal to scholars and students of European history, cultural history, art and literature.
Dada magazines made Dada what it was: diverse, non-hierarchical, transnational, and defiant of the most fundamental artistic conventions. This first volume entirely devoted to Dada periodicals retells the story of Dada by demonstrating the centrality of these graphically inventive, provocative periodicals: Dada, New York Dada, Dada Jok, and dozens more that began crossing enemy lines during World War I. The book includes magazines from well-known Dada cities like New York and Paris as well as Zagreb and Bucharest, and reveals that Dada continued to inspire art journals into the 1920s. Anchored in close material analysis within a historical and theoretical framework, Dada Magazines models a novel, multifaceted methodology for assessing many kinds of periodicals. The book traces how the Dadaists-Marcel Duchamp, Tristan Tzara, Dragan Aleksic, Hannah Höch, and many others-compiled, printed, distributed, and exchanged these publications. At the same time, it recognizes the journals as active agents that engendered the Dada network, and its thematic, chronological structure captures the constant exchanges that took place in this network. With in-depth scrutiny of these magazines-and 1970s “Dadazines” inspired by them-Dada Magazines is a vital source in the histories of art and design, periodical studies, and modernist studies.
Anarchism and the Advent of Paris Dada sheds new light on Paris Dada's role in developing the anarchist and individualist philosophies that helped shape the cultural dialogue in France following the First World War. Drawing on such surviving documentation as correspondence, criticism, periodicals, pamphlets, and manifestoes, this book argues that, contrary to received wisdom, Dada was driven by a vision of social change through radical cultural upheaval. The first book-length study to interrogate the Paris Dadaists' complex and often contested position in the postwar groundswell of anarcho-individualism, Anarchism and the Advent of Paris Dada offers an unprecedented analysis of Paris Dada literature and art in relation to anarchism, and also revives a variety of little known anarcho-individualist texts and periodicals. In doing so, it reveals the general ideological diversity of the postwar French avant-garde and identifies its anarchist concerns; in addition, it challenges the accepted paradigm that postwar cultural politics were monolithically nationalist. By positioning Paris Dada in its anarchist context, this volume addresses a long-ignored lacuna in Dada scholarship and, more broadly, takes its place alongside the numerous studies that over the past two decades have problematized the politics of modern art, literature, and culture.
Presents a collection of essays, manifestos, and illustrations that provide an overview of the Dada movement in art, describing its convictions, antics, and spirit, through the words and art of its principal practitioners.
This book deals with the early intellectual reception of the cinema and the manner in which art theorists, philosophers, cultural theorists, and especially artists of the first decades of the twentieth century responded to its advent. While the idea persists that early writers on film were troubled by the cinema’s lowly form, this work proposes that there was another, largely unrecognized, strain in the reception of it. Far from anxious about film’s provenance in popular entertainment, some writers and artists proclaimed that the cinema was the most important art for the moderns, as it exemplified the vibrancy of contemporary life. This view of the cinema was especially common among those whose commitments were to advanced artistic practices. Their notions about how to recast the art media (or the forms forged from those media’s materials) and the urgency of doing so formed the principal part of the conceptual core of the artistic programs advanced by the vanguard art movements of the first half of the twentieth century. This book, a companion to the author’s previous, Harmony & Dissent, examines the Dada and Surrealist movements as responses to the advent of the cinema.
This rich, in-depth exploration of Dada’s roots in East-Central Europe is a vital addition to existing research on Dada and the avant-garde. Through deeply researched case studies and employing novel theoretical approaches, the volume rewrites the history of Dada as a story of cultural and political hybridity, border-crossings, transitions, and transgressions, across political, class and gender lines. Dismantling prevailing notions of Dada as a “Western” movement, the contributors to this volume present East-Central Europe as the locus of Dada activity and techniques. The articles explore how artists from the region pre-figured Dada as well as actively “cannibalized”, that is, reabsorbed and further hybridized, a range of avant-garde techniques, thus challenging “Western” cultural hegemony.
Focusing on our complex relationship with technology, The machine and the ghost explores our culture’s continued fascination with the spectral, the ghostly and the paranormal. Through a series of critical case studies and artists’ discussions, this lively new collection examines topics ranging from contemporary art to cultural theory. Produced with renowned specialists within the field, including the artist Susan Hiller and the writer Marina Warner, the book combines the historical with the contemporary in exploring how the visual culture of paranormal phenomena continues to haunt our imaginations. Informed by history and the visual tradition of spiritualism and psychical research, the collection is very much concerned to site that tradition within our contemporary concerns, such as landscape and environment, and recent technological developments. Aimed at a broad academic and cultural audience, the collection will appeal to all academic levels in addition to those interested in art and culture more widely.
Wireless Dada: Telegraphic Poetics in the Avant-Garde demonstrates that the poetics of the Dada movement was profoundly influenced by the telegraph and the technological and social transformations that it brought about in the nineteenth and early twentieth centuries. While telegraphy’s impact on Italian Futurism and German Expressionism is widely acknowledged, its formative role in Dada poetics has been largely neglected. Drawing on media history and theory, avant-garde studies, and German literary studies, Kurt Beals shows how the telegraph and the cultural discourses that surrounded it shaped the radical works of this seminal avant-garde movement. The “nonsense” strain in Dada is frequently seen as a response to the senseless violence of the First World War. Beals argues that it was not just the war that turned Dada poetry into a jumble of senseless signals—it was also the wireless.
In 1909 the Italian poet Filippo Tommaso Marinetti’s Founding Manifesto of Futurism was published on the front page of Le Figaro. Between 1909 and 1912 the Futurists published over thirty manifestos, celebrating speed and danger, glorifying war and technology, and advocating political and artistic revolution. This collection of essays aims to reassess the activities of the Italian Futurist movement from an international and interdisciplinary perspective, focusing on its activities and legacies in the field of poetry, painting, sculpture, theatre, cinema, advertising and politics. The essays offer exciting new readings in gender politics, aesthetics, historiography, intermediality and interdisciplinarity. They explore the works of major players of the movement as well as its lesser-known figures, and the often critical impact of Futurism on contemporary or later avant-garde movements such as Cubism, Dada and Vorticism. The publication will be of interest to scholars and students of European art, literature and cultural history, as well as to the informed general public.
A fascinating look at key aspects of visual culture in modern Jewish history