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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.
"Presents some seventy works-- books, collages, drawings, films, paintings, photographs, photomontages, prints, readymades, reliefs-- in large-scale reproductions and accompanying them with in-depth essays by an interdepartmental group of the Museum's curators."--Front jacket flap.
This groundbreaking collection of thirteen original essays analyzes connections between film and two highly influential twentieth-century movements.
Mavo were aJapanese group of artists active in Tokyo from 1923-1925.
This excellent overview of new research on Dada and Surrealism blends expert synthesis of the latest scholarship with completely new research, offering historical coverage as well as in-depth discussion of thematic areas ranging from criminality to gender. This book provides an excellent overview of new research on Dada and Surrealism from some of the finest established and up-and-coming scholars in the field Offers historical coverage as well as in–depth discussion of thematic areas ranging from criminality to gender One of the first studies to produce global coverage of the two movements, it also includes a section dealing with the critical and cultural aftermath of Dada and Surrealism in the later twentieth century Dada and Surrealism are arguably the most popular areas of modern art, both in the academic and public spheres
Contemporary art relies on an expansionist, modernist ideal and still progresses through a critique of earlier forms of democratisation. But beneath this democratic drive, lurks a creeping crisis. Under neoliberalism, criticality has become a zone of value production. A self-deprecating irony, exposing and re-enacting this position of impotence, is one of the few gestures left in the arsenal of critical art. Against this irony, this book pits overidentification. This term has been taken to mean a kind of parodic mimicry of institutional power. Using a broad tapestry of sources, from political philosophers to art theorists, from post-Marxist critiques of labour to ethnographic studies, it proposes an interpretation of overidentification that does not collapse into ironic posturing. The authors differentiate this from bad faith flirting with taboo aesthetics by focusing on practices grounded in a genuine identification with power that ushers the kind of excess implied by overidentification. It is these forms of overidentification that destabilise the metastasis of liberal-democracy. Staging forms of critique not so readily absorbed into the structure of the present, these subversive performances herald a future beyond the democratic paradox.
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.
Edited by Leah Dickerman. Essays by Brigid Doherty, Sabine T. Kriebel, Dorothea Dietrich, Michael R. Taylor, Janine Mileaf and Matthew S. Witkovsky. Foreword by Earl A. Powell III.