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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National Gallery of Art. Library, Gift of Thomas G. Klarner 14 MARCEL JANCO
Title page of the program for the Sturm-Ausstellung, II. Serie (Sturm-Exhibition, II.
Series) and for the Sturm-Sotre'e. 1917, with Janco's illustration for a poster for "le
The ultimate goal was to integrate a new product into the workings of an
established institution, Sturm Gallery. The Berlin dadaists, however, explored
media techniques to promote a critique of art itself, particularly to lambaste its
In 1918, through the Kestner Society, an organization founded in Hannover in
1916 to promote the exhibition and discussion of modern art, Schwitters made
contact with Herwarth Walden, whose Sturm Gallery and magazine in Berlin were
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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