By David Hopkins
This wonderful assessment of recent learn on Dada and Surrealism blends specialist synthesis of the newest scholarship with thoroughly new examine, supplying old assurance in addition to in-depth dialogue of thematic parts starting from criminal activity to gender.
- This booklet presents an outstanding evaluation of latest learn on Dada and Surrealism from a number of the best demonstrated and up-and-coming students within the field
- Offers historic assurance in addition to in–depth dialogue of thematic components starting from illegal activity to gender
- One of the 1st reviews to provide international assurance of the 2 events, it is also a piece facing the severe and cultural aftermath of Dada and Surrealism within the later 20th century
- Dada and Surrealism are arguably the preferred parts of recent paintings, either within the educational and public spheres
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Additional resources for A Companion to Dada and Surrealism
Brooker, Peter, and Thacker, Andrew. 2012. The Oxford Critical and Cultural History of Modernist Magazines, vol. 2. North America 1894–1960. Oxford: Oxford University Press. Brooker, Peter et al. (eds). 2013. The Oxford Critical and Cultural History of Modernist Magazines, vol. 3, Europe 1880–1940. Oxford: Oxford University Press. Caws, Mary Ann. 1997. The Surrealist Look: An Erotics of Encounter. Cambridge, MA and London: MIT Press. Dada/Surrealism (E‐journal, International Dada Archive, University of Iowa Libraries).
Paris: Centre Pompidou. Le Brun, Annie. 2014. Sade: Attaquer le Soleil. Paris: Musée d’Orsay/Gallimard. Lewis, Helen. 1988. Dada Turns Red: The Politics of Surrealism. Edinburgh: Edinburgh University Press. Lippard, Lucy. 1971. Dadas on Art. New Jersey: Prentice‐Hall. Lloyd, Michael, Gott, Ted, and Chapman, Christopher. 1993. Surrealism: Revolution by Night. Canberra: National Gallery of Australia. Lomas, David. 1997. The Haunted Self: Surrealism, Psychoanalysis and Subjectivity. New Haven and London: Yale University Press.
During the run of the First Dada Exhibition, Tzara gave three lectures on Saturday afternoons. His interpretation of the modern visual art exhibited here drew attention to the desire for “geometric simplicity” among these artists. In striking contrast to the pugnacious rhetoric of his declamatory writing, Tzara’s observations here attribute to this modern art a redemptive and synthesizing capacity to lead the modern subject to the telos order, clarity, quiet. ” An important feature of the visual arts program at the Galerie Dada from the start was that it challenged conventional hierarchical distinctions between the fine and “applied” arts.