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his book is the first to make the case that women's changing role in European and American society was critical to Dada.
A healthy vegetarian cookbook featuring inventive takes on beloved Indian dishes, indulgent desserts, and more, all made with whole foods and anti-inflammatory ingredients—from the Today show’s resident foodie “When I’m looking for something quick that doesn’t use refined sugars and refined flour, Samah is the person I turn to. I can’t get enough!”—Giada De Laurentiis, New York Times bestselling author of Eat Better, Feel Better NAMED ONE OF THE BEST COOKBOOKS OF THE YEAR BY FOOD52 AND LIBRARY JOURNAL Samah Dada doesn’t buy into the all-or-nothing mentality of healthy eating. By using real, unprocessed ingredients in surprising ways, she shows you how to have your cake and eat it too—because it’s actually made out of chickpeas. Samah knows that eating well doesn’t mean eating boring food. She uses only the most nutritious ingredients, not because she’s cutting out food groups to follow the latest fad, but to create drool-worthy meatless dishes that are mostly vegan (with options for dairy and eggs), mostly gluten-free (with easy substitutions to go entirely gluten-free), and all helpful in reducing inflammation. She reinvents Indian cookbook staples—and other classics—with recipes such as: • Sweet Potato Aloo Tikki • Creamy Black Lentils • Spicy Eggplant Masala • Chocolate Chip Tahini Cake with Chocolate Frosting • Cauliflower Cacio e Pepe • Masala Mac and Cheese • And more! With Dada Eats Love to Cook It, you’ll discover how to use healthy ingredients for maximum flavor and joy. Grain-Optional. Gluten-Flexible. Mostly Plant-Based. Totally Inclusive.
A study of the role women played in the rebellious Dada art movement in the early twentieth century Mamas of Dada focuses on the lives and works of six representative female supporters of the Dada movement: Emmy Hennings, Gabrielle Buffet, Germaine Everling, Céline Arnauld, Juliette Roche, and Hannah Höch. Paula K. Kamenish selected these women for their avant-garde pursuits in the chief centers of Dada's rebellious activity and, more important, because they left behind a written record of their involvement with the movement, which was short lived--from 1916 to 1924--but widespread geographically. The rebellious spirit of the Dada period proved portable and adaptable, and the movement led to later forms of surrealism at the same time that it borrowed from Expressionism, Constructivism, Futurism, and Cubism. Its influence was felt on sculpture, painting, dance, music, textile art, film, decoupage, photomontage, mask making, and poetry. Some female Dadaists were active participants--appearing in literary journals, on stage, or in galleries--while others were observant and recording witnesses, but each played a role in supporting the movement and its more prominent members. Female Dadaists motivated the hesitant Hugo Ball, tempered the mechanical Francis Picabia, and nurtured the inventive but temperamental Raoul Hausmann. Some women inspired or gave a home to a wandering Tristan Tzara, while another provided a satiric chastisement of Dadaists in New York, Barcelona, and Paris. Each woman helps us chronicle and better understand Dada's European (and sometimes American) manifestations. Unlike their Futurist and Surrealist sisters, whose contributions were grudgingly accepted by male artists and writers, female Dadaists were able to join more readily in the movement's unified attack on social norms. And, because of their individual talents and insights, they did so in ways that were often quite different from methods adopted by their male counterparts.
The first biography of the enigmatic dadaist known as "the Baroness"—Elsa von Freytag-Loringhoven. Elsa von Freytag-Loringhoven (1874–1927) is considered by many to be the first American dadaist as well as the mother of dada. An innovator in poetic form and an early creator of junk sculpture, "the Baroness" was best known for her sexually charged, often controversial performances. Some thought her merely crazed, others thought her a genius. The editor Margaret Anderson called her "perhaps the only figure of our generation who deserves the epithet extraordinary." Yet despite her great notoriety and influence, until recently her story and work have been little known outside the circle of modernist scholars. In Baroness Elsa, Irene Gammel traces the extraordinary life and work of this daring woman, viewing her in the context of female dada and the historical battles fought by women in the early twentieth century. Striding through the streets of Berlin, Munich, New York, and Paris wearing such adornments as a tomato-soup can bra, teaspoon earrings, and black lipstick, the Baroness erased the boundaries between life and art, between the everyday and the outrageous, between the creative and the dangerous. Her art objects were precursors to dada objects of the teens and twenties, her sound and visual poetry were far more daring than those of the male modernists of her time, and her performances prefigured feminist body art and performance art by nearly half a century.
The European Dada movement of the early 20th century has long been regarded as a male preserve, one in which women have been relegated to footnotes or mentioned only as the wives, girlfriends, or sisters of Dada men. This fascinating book challenges that assumption, focusing on the creative contributions made to Dada by five pivotal European women. Ruth Hemus establishes the ways in which Emmy Hennings and Sophie Taeuber in Zurich, Hannah Höch in Berlin, and Suzanne Duchamp and Céline Arnauld in Paris made important interventions across fine art, literature, and performance. Hemus highlights how their techniques and approaches were characteristic of Dada's rebellion against aesthetic and cultural conventions, analyzes the impact of gender on each woman's work, and shows convincingly that they were innovators and not imitators. In its new and original perspective on Dada, the book broadens our appreciation and challenges accepted understandings of this revolutionary avant-garde movement.
An Audience of Artists turns this time line for the postwar New York art world on its head, presenting a new pedigree for these artistic movements. Drawing on an array of previously unpublished material, Catherine Craft reveals that Neo-Dada, far from being a reaction to Abstract Expressionism, actually originated at the heart of that movement's concerns about viewers, originality, and artists' debts to the past and one another. Furthermore, she argues, the original Dada movement was not incompatible with Abstract Expressionism. In fact, Dada provided a vital historical reference for artists and critics seeking to come to terms with the radical departure from tradition that Abstract Expressionism seemed to represent. Tracing the activities of artists such as Robert Motherwell, Barnett Newman, and Jackson Pollock alongside Marcel Duchamp's renewed embrace of Dada in the late 1940s, Craft explores the challenges facing artists trying to work in the wake of a destructive world war and the paintings, objects, writings, and installations that resulted from their efforts."--Jacket.
A revised edition of Whitney Chadwick’s seminal work on the women artists who shaped the Surrealist art movement. This pioneering book stands as the most comprehensive treatment of the lives, ideas, and art works of the remarkable group of women who were an essential part of the Surrealist movement. Leonora Carrington, Frida Kahlo, and Dorothea Tanning, among many others, embodied their age as they struggled toward artistic maturity and their own “liberation of the spirit” in the context of the Surrealist revolution. Their stories and achievements are presented here against the background of the turbulent decades of the 1920s, ’30s, and ’40s and the war that forced Surrealism into exile in New York and Mexico. Whitney Chadwick, author of the highly acclaimed Women, Art, and Society, interviewed and corresponded with most of the artists themselves in the course of her research. Women Artists and the Surrealist Movement, now revised with a new foreword by art historian Dawn Ades, contains a wealth of extracts from unpublished writings and numerous illustrations never before reproduced. Since this book was first published, it has acquired the undeniable status of a classic among artists, art historians, critics, and cultural historians. It has inspired and necessitated a revision of the story of the Surrealist movement.
Rich in local color and sentiment, this story follows Dada, who returns to her home town on the Adriatic coast in order to unravel the mystery of her brother Daniel's death. Daniel, although young, smart, and popular, threw himself under a train in mysterious circumstances a few years earlier. In her search for clues, Dada meets an array of eccentric characters and succumbs to the charms of the young gigolo Angelo, who is a part of a film crew shooting a Western on the nearby "prairie." Slowly and painfully she discovers all there is to know about her brother's death, and how Angelo was caught up in it. In her debut novel, Savicevic transposes the genre of a traditional Western drama onto the contemporary world, challenging the heroes of childhood and questioning what constitutes heroism today. Her shabby seaside hometown provides the perfect backdrop for this tale of loss and redemption, redolent of transient glamour and unrealized small-town dreams.
In this provocative and stimulating book, David Hopkins addresses the homosocial structures in Dada and Surrealist art with an eye to their relevance to current artistic and theoretical debate. Bestriding the book is the pivotal figure of the artist Marcel Duchamp, who was at the center of various groups of artistic and literary figures—predominantly male—in Europe and America. And at the heart of the investigation are Duchamp’s relationships with these men, the various interactions of those within the groups, and the impact of this type of male camaraderie on the artworks they produced. Hopkins looks at specific moments in the careers of Duchamp and some of his associates—Francis Picabia, Man Ray, Max Ernst and André Breton—and discusses in detail the reception of Duchamp’s ideas in the post-war period. He goes on to trace the influence of the homosocial nature of Surrealism and Dada on the art world from the 1950s to the work of contemporary male and female artists.
The Dada movement, revered as perhaps the purest form of cultural subversion and provocation in 20th-century Europe, has been a victim of the readiness with which cultural historians have swallowed its own propaganda. Based on extensive close analysis of French-language Dada work in its original form, and offering English translations throughout, this major reappraisal looks at a broad range of media and topics - including poetry, film, philosophy, and quantum physics - in order to get beyond Dada's typecasting as avant-garde anti-hero. Work by women writers and other marginalized figures combines with that of canonical Dadaists to present Dada in a radically new set of guises: poetic and textually subtle; intellectually and philosophically meaningful; peaceable and quasi-Buddhist; and, perhaps most uncomfortably of all, conformist and reactionary.