Dada: Zürich, Berlin, Hannover, Cologne, New York, Paris
National Gallery of Art in association with D.A.P./ Distributed Art Publishers, New York, 2005 - Art - 519 pages
Along with Russian constructivism and surrealism, Dada stands as one of the three most significant movements of the historical avant-garde. Born in the heart of Europe in the midst of World War I, Dada displayed a raucous skepticism about accepted values. Its embrace of new materials, of collage and assemblage techniques, of the designation of manufactured objects as art objects as well as its interest in performance, sound poetry, and manifestos fundamentally shaped the terms of modern art practice and created an abiding legacy for postwar art. Yet, while the word Dada has common currency, few know much about Dada art itself. In contrast to other key avant-garde movements, there has never been a major American exhibition that explores Dada specifically in broad view. "Dada"--the catalogue to the exhibition on view in 2006 at the National Gallery of Art in Washington and The Museum of Modern Art in New York presents the hybrid forms of Dada art through an examination of city centers where Dada emerged: Zurich, Berlin, Cologne, Hannover, New York, and Paris. Covered here are works by some 40 artists made in the period from circa 1916, when the Cabaret Voltaire was founded in Zurich, to 1926, by which time most of the Dada groups had dispersed or significantly transformed. The city sections bring together painting, sculpture, photography, collage, photomontage, prints and graphic work.
Relying on dynamic design and vivid documentary images, "Dada" takes us through these six cities via topical essays and extensive plate sections; an illustrated chronology of the movement; witty chronicles of events in each city center; a selected bibliography; and biographies of eachartist--accompanied by Dada-era photographs.
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JOHANNES BAARGELD The works that Johannes T. Baargeld manufactured
during his involvement with Dada in Cologne similarly destabilized high art and
masculine subjectivity, mapping these issues onto his own body in his 1920 ...
at the heart of Marxist theory and Baargeld's politics. Man- made imitates
machine, but at the same time, machine imitates man, producing an endless
critical circuitry that both emulates and parodies industrialized labor. DIE
COLOGNE Johannes Baargeld bom 1892 Stettin. Germany (now Szczecin,
Poland) died 1927 near Chamonix. France Johannes Theodor Baargeld was the
pseudonym adopted by Alfred Emanuel Ferdinand Gruen- wald as an ironic,
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Dada: Zurich, Berlin, Hannover, Cologne, New York, ParisUser Review - Not Available - Book Verdict
The disillusionment intellectuals experienced during World War I gave rise to Dada, one of the first artistic movements that questioned the fundamental assumptions forged during the Enlightenment ... Read full review