Dada Magazines

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.

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.

This volume focuses on the unstudied geographic margins of Dada, delving into the roots of Dada in Israel, Romania, Poland, and North America. Contributors consider some of the practices and experiments that were conceived a century ago, surfaced in art throughout the twentieth century, and are still relevant today. Unearthing its Israeli origins, examining Dadaist expressions in Poland, and shedding light on overlooked facets of Dadaist art in Romania and North America, the authors cast a spotlight on the less-explored geographical peripheries of Dada. The book is organized around four thematic trajectories—space, language, materiality, and reception—which are dissected through the lens of micro-histories. Recognizing the continuing validity of questions raised by Dadaist artists, this volume argues that Dada persists as an ongoing endeavor—a continual reexamination of the fundamental tenets of art and its ever-evolving potential manifestations. The book will be of interest to scholars working in art history, modernism, and history of the twentieth and twenty-first centuries.

How did the avant-garde imagine its interconnected world? And how does this legacy affect our understanding of the global today? The writers and artists of the French avant-garde aspired to reach a global audience that would be wholly transformed by their work. In this study, Effie Rentzou delves deep into their depictions of the interwar world as an international and modern landscape, one marked by a varied cosmopolitanism. The avant-garde’s conceptualization of the world paralleled, rejected, or expanded prevailing notions of the global sphere. The historical avant garde—which encompassed movements like futurism, Dada, and surrealism—was self-consciously international, operating across global networks and developed with the whole world as its horizon and its public. In the heady period between the end of the Belle Époque and the tumult of World War II, both individual artists (including Guillaume Apollinaire, Blaise Cendrars, Francis Picabia, Louis Aragon, Leonora Carrington, and Nicolas Calas) and collective endeavors (such as surrealist magazines and exhibitions) grappled with contemporary anxieties about economic growth, imperialism, and colonialism, as well as various universalist, cosmopolitan, and internationalist visions. By probing these works, Concepts of the World offers an alternative narrative of globalization, one that integrates the avant-garde’s enthusiasm for, as well as resistance to, the process. Rentzou identifies within the avant-garde a powerful political language that expressed the ambivalence of living and creating in an increasingly globalized world—a language that profoundly shaped the way the world has been conceptualized and is experienced today.

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

Galenson combines social scientific methods with qualitative analysis to produce a new interpretation of modern art.

An anthology of 150 of the world's most cutting-edge art, fashion, photography, architecture, and design periodicals currently in publication traces the evolution and future of magazines in the digital age, in a visual survey that features essays from such top industry thinkers as Steven Heller, Terry Jones, and Robert Sacks. Original.