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Dada & Surrealism:     more books (100)

Surreal Things: Surrealism and Design by Ghislaine Wood, 2007-03-01 Surrealism and the Exotic by Louise Tythacott, 2003-03-21 Dada (Temporis) by Nathalia Brodskaia, 2010-04 The Sources of Surrealism: Art in Context Pablo Picasso And Marie-Therese Walter: Between Classicism And Surrealism (Art Catalogue) by Pablo Picasso, 2004-08-02 Angels of Anarchy: Women Artists and Surrealism by Patricia Allmer, 2009-09-01 Challenging Modernity: Dada Between Modern and Postmodern (Cultural Studies) by Mark A. Pegrum, 1999-11 Modernism - Dada - Postmodernism (Avant-Garde & Modernism Studies) by Richard Sheppard, 1999-12-25 Surrealism, Insanity, and Poetry by J. H. Matthews, 1982-09 Creativity: Psychoanalysis, Surrealism and Creative Writing by Kevin Brophy, 1998-03-01 Andre Breton and the First Principles of Surrealism by Franklin Rosemont, 1978-02 Surrealism, Feminism, Psychoanalysis by Natalya Lusty, 2007-11-05 Twilight Visions: Surrealism and Paris by Therese Lichtenstein, Julia Kelley, et all 2009-09-30 Surrealism (Basic Art) by Cathrin Klingsohr-Leroy, 2004-07-01

lists with details

81. Dada And Surrealist Film: A Short Bibliography Of Materials In The UC Berkeley L
    Languages of Revolt dada and Surrealist Literature and Film. Two French dada Films Entr Acte and Emak Bakia. dada/surrealism, vol. 13.  
    http://www.lib.berkeley.edu/MRC/dadafilmbib.html
    
    Extractions: Abel, Richard. "Exploring the Discursive Field of the Surrealist Film Scenario Text." Dada/Surrealism , vol. 15. 1986. pp: 58-71 Ades, Dawn. "Internationalism and Eclecticism: Surrealism and the Avant-Garde in Painting and Film 1920-1930." In Spanish Cultural Studies: An Introduction: The Struggle for Modernity. edited by Helen Graham and Jo Labanyi, pp. 71-79. Oxford; New York: Oxford University Press, 1995. UCB Main DP233.5 .S7 1995 Aiken, Edward A. "Reflections on Dada and the Cinema." Post Script: Essays in Film and the Humanities , vol. 3 no. 2. 1984 Winter. pp: 5-19. Barber, Stephen. "A Cinema of Cruelty: Antonin Artaud." (excerpts from A Foundry of the Figure: Antonin Artaud) Artforum v28, n2 (Oct, 1989):163 (4 pages). Caws, Mary Ann. Dada/Surrealism , vol. 3. 1973. PAGES: 7-42. Cinema and the Realms of Enchantment: Lectures, Seminars, and Essays / by Marina Warner and others; edited by Duncan Petrie. London: British Film Institute, 1993. Series title: BFI working papers.

82. XXIV Bienal - Nucleo Historico -
    The anthropophagic dimensions of dada and surrealism Dawn Ades. When the young Turks of the Brazilian avantgarde in the 1920s named their manifesto and  
    http://www1.uol.com.br/bienal/24bienal/nuh/inuhdad0201a.htm
    
    Extractions: When the young Turks of the Brazilian avant-garde in the 1920s named their manifesto and review "Antropofagia," was it in the knowledge of Francis Picabia's dada review Cannibale? This was possible, but unlikely, and in any case unnecessary to explain their choice of this word which so aptly refers to the complexity of the contemporaneous neocolonial cultural conditions in Brazil, and their reactions against them. What is interesting though, is to consider why this word should also come to the fore in the rebellious atmosphere of dada, where it is also telling, but for rather different reasons. and finally his statement that in Germany, "dadaism became political, it drew the ultimate consequences of its position and renounced art completely." In Paris dada worked out its aggression and rudeness at a more individual rather than political level·under the sign of anarchy·but there too it was a question of life rather than art. So perhaps Picabia, whose little magazines were full of anecdotes, aphorisms and gossip, and whose visual productions incorporated words, photographs, ordinary objects and, in theory if not in practice, living animals, thought of the dadaist as a cannibal in the sense that his materials were life rather than art.

83. XXIV Bienal - Nucleo Historico -
    The anthropophagic dimensions of dada and surrealism. As an attempt to consume the whole of dada, CannibaleËs title was appropriate, but the title invites  
    http://www1.uol.com.br/bienal/24bienal/nuh/inuhdad0301.htm
    
    Extractions: and finally his statement that in Germany, "dadaism became political, it drew the ultimate consequences of its position and renounced art completely." In Paris dada worked out its aggression and rudeness at a more individual rather than political level·under the sign of anarchy·but there too it was a question of life rather than art. So perhaps Picabia, whose little magazines were full of anecdotes, aphorisms and gossip, and whose visual productions incorporated words, photographs, ordinary objects and, in theory if not in practice, living animals, thought of the dadaist as a cannibal in the sense that his materials were life rather than art. PicabiaËs response, like DuchampËs, to the "art and life" debates was not, however, without irony, as in his proposals to use real white mice, or a living monkey (for Tableau dada) in his "works of art;" in Tableau dada he hints darkly at the logical extension of "live materials" to the use of human beings, playing with the French term for a "still life," nature morte, literally "dead nature," and giving a new and comically sinister turn to the notion of the "portrait bust." The practice of collage, various as it was in the hands of dada, cannibalising newspapers, photographs, prints, reproductions of all kinds, disassembling bodies and recombining their fragments in new forms, is also a kind of anthropophagy.

84. Dada & Surrealism: ARCANA
    dada surrealism gold foil ownership seal of noted Los Angeles abstract artist (and surrealism aficionado) Emerson Woelffer on the inside front cover.  
    http://www.arcanabooks.com/INVENTORY_interface/arcanainventory/dada_page.asp
    
    Extractions: (BELLMER, HANS). Iwaya, Kuniyo. HANS BELLMER: THE DOLL. Tokyo. 1995 (2004).: Treville Co. Ltd., First Edition Thus. 8vo. Boards in Dust Jacket. Photography Monograph. Fine/Fine. np, profusely illustrated in color and b&w. Text in Japanese. Designed by Jun Takechi. Published only in Japan, this is a beautiful little book that reproduces all of the known photographic images of "La Poupee", Hans Bellmer's anatomically amorphous, articulated Surrealist doll that was the not so obscure object of his desire. A pristine copy. 4-309-90574-9 Book Number: 010363 order/inquire (BELLMER, HANS). Iwaya, Kuniyo. HANS BELLMER: THE DOLL. Tokyo. 1995 (2004).: Treville Co. Ltd., First Edition Thus. 8vo. Boards in Dust Jacket. Photography Monograph. Fine/Fine. np, profusely illustrated in color and b&w. Text in Japanese. Designed by Jun Takechi. Published only in Japan, this is a beautiful little book that reproduces all of the known photographic images of "La Poupee", Hans Bellmer's anatomically amorphous, articulated Surrealist doll that was the not so obscure object of his desire. A pristine copy. 4-309-90574-9 Book Number: 010363 order/inquire ... ARCANA: BOOKS ON THE ARTS HOME PAGE

85. Art History And Archaeology
    Intersections of dada and surrealism with disciplines such as psychoanalysis, anthropology, and philosophy, as well as gender and postcolonial studies play  
    http://www.art.man.ac.uk/ARTHIST/postgraduate/dada_ma.html
    
    Extractions: undergraduate postgraduate contact us research ... school staff This new MA course within the framework of the MA in Art History at the University of Manchester offers an exciting opportunity to focus on a specific range of themes and debates critical to the understanding of modernism and postmodernism. Taught by a team including Professor Amelia Jones Dr David Lomas Dr Julia Kelly and Dr Anna Dezeuze , the MA will enable students to engage with the most up to date and critically aware perspectives on dada and surrealism. The course will explore the continued resonance of these movements in the work of artists and theorists of the later twentieth century onwards through the study of conceptual art, performance, object-based art, and issues of art and identity politics. The course ranges widely across photography, film and video, as well as more conventional artistic media, and close attention is devoted to the study of key theoretical texts. Intersections of dada and surrealism with disciplines such as psychoanalysis, anthropology, and philosophy, as well as gender and postcolonial studies play important roles in this stimulating and challenging course. Students taking the course will benefit from a thriving research culture at Manchester generated by the AHRB Research Centre for Studies of Surrealism and its Legacies, which runs a varied programme of events including frequent seminars, workshops and colloquia, and promotes research through publications including an online journal. The Centre can offer assistance to students wishing to carry out research at Tate and other affiliated institutions. Further information about the Surrealism Centre can be found at

86. October - Dada Gambits - The MIT Press
    Or dada has been tied to surrealism, as is the case with three exhibitions, seminal in their own right, that have defined our approach to an alternate  
    http://mitpress.mit.edu/catalog/item/default.asp?ttype=6&tid=11346

87. Dada And Surrealism
    transcription of dreams, hallucinations; juxtaposition of disparate objects; intellectual liberty. ARTISTS and IMAGES. dada surrealism  
    http://www.ruf.rice.edu/~fellows/hart206/dada.htm

88. Romanic Review: Place Of Suicide In The French Avant-garde Of The Inter-war Peri
    The cult of artistic and existential evasion in dada and surrealism made Since dada and surrealism were seen as the products of a new malady of the  
    http://www.findarticles.com/p/articles/mi_qa3806/is_200005/ai_n8893843
    
    Extractions: Suicide as a Founding Myth of Dada and Surrealism Soupault modeled his frequent trips abroad along the lines of the RimbaudLautreamont paradigm. "J'etais toujours, plus ou moins consciemment, influence par la destinee de Rimbaud," recalled the poet, "lui qui avail decide, A n'importe quel prix, de fuir les milieux litteraires. 12 'exemple' de Rimbaud, et le besoin de m'evader [ ... J m'obligerent, le mot nest pas trop fort, a partir" (Memoires 1923-1926 167-68).3 Soupault was not the only young Parisian avant-gardist who drew on the revered "example" to show his contempt for "literature." His Russian colleague and peer, Boris Poplavsky, who arrived in France in 1921 and promptly contracted the spirit of Dada, described his own ideal model of a poet, characteristically mixing the myths of Rimbaud and Lautreamont to express his "most profound disgust for literature." Wrote Poplavsky:

89. Wallpaper
    contrast animation surrealism dada and surrealism surrealism photos The mean dada and surrealism surrealism overview aime cesaire and surrealism and  
    http://www.fegovi.com/abstract/

90. UCSF Today Art Notes
    dada AND surrealism. When we hear the world surrealism, many of us think instantly Dreaming with Open Eyes dada and Surrealist Art is at the Legion of  
    http://pub.ucsf.edu/today/arts.php?news_id=200202285

91. Dada And Dadaism : Dada Links
    dada and surrealism The stories of a few dada personalities (extract from the book Women dada and Surrealist Journals in the Mary Reynolds Collection  
    http://www.dadart.com/dadaism/dada/070-dadaism-dada-links.html
    
    Extractions: The Dada movement Dada news Dada bibliography Presenting Dadart ... Home Numerous web sites (perhaps hundreds of them) contain information of use or of interest to persons or organizations concerned by Dada. These sites are extremely varied, unequal in importance or in content, and by the very nature of their being on the Web, quite volatile. Some appear or disappear from one day to the other. You will find in the following list a glimpse of the ones which seem worth the detour. Dadart would appreciate knowing how you react to these sites. Keep us informed if you discover anything new. Thanks. Annenberg Image Library

92. Dada, Surrealism, Regionalism, And Social Realism
    dada surrealism. dada (dadaism) AntiArt. Originated in Zurich 1916-21; surrealism Subconscious Experience. Attracted many adherents of dada  
    http://fog.ccsf.edu/~jcarpent/dada_surrealism_social_realism_outline.htm
    
    Extractions: Dada (Dadaism): Anti-Art Originated in Zurich 1916-21; also in New York Artists and writers expressed revulsion for war: spirit of protest rejecting everything false and hypocritical in an aesthetically bankrupt society To destroy the concept of art, proposed anti-art and non-art Essence of Dada was artistic expression Renounced emotionally indifferent Cubist themes in favor of objects capable of conveying intricate and private symbolic meanings Defined the work of art as an intellectual or philosophical decision rather than a craft object Art Works: Dada (Dadaism) [Artists: Duchamp, Schwitters, Man Ray, Hoch, Heartfield] Marcel Duchamp, Fountain Marcel Duchamp, The Large Glass (The Bride Stripped Bare by Her Bachelors, Even) Man Ray, Cadeau (Gift) Kurt Schwitters, Merz 19 Duchamp, LHOOQ Marcel Duchamp, Fountain, 1961 ( after lost original) "Ready-made" sculpture Uses an ordinary mass-produced object, displaced from its expected location and function Found object Bicycle Wheel, 1951 (after lost original)

93. Oxford University Press: Dada And Surrealism: A Very Short Introduction: David H
    The avantgarde movements of dada and surrealism continue to have a huge influence on cultural practice, especially in contemporary art, with its obsession  
    http://www.oup.com/us/catalog/general/subject/ArtArchitecture/History/ModernCont
    
    Extractions: You are here: OUP USA Home U.S. General Catalog History David Hopkins Add to Cart paper 208 pages Jun 2004, In Stock Shipping Details The avant-garde movements of Dada and Surrealism continue to have a huge influence on cultural practice, especially in contemporary art, with its obsession with sexuality, fetishism, and shock tactics. In this new treatment of the subject, Hopkins focuses on the many debates surrounding these movements: the Marquis de Sade's Surrealist deification, issues of quality (How good is Dali?), the idea of the 'readymade', attitudes towards the city, the impact of Freud, attitudes to women, fetishism, and primitivism. The international nature of these movements is examined, covering the cities of Zurich, New York, Berlin, Cologne, Barcelona, Paris, London, and recenlty discovered examples in Eastern Europe. Hopkins explores the huge range of media employed by both Dada and Surrealism (collage, painting, found objects, performance art, photography, film) , whilst at the same time establishing the aesthetic differences between the movements. He also examines the Dadaist obsession with the body-as-mechanism in relation to the Surrealists' return to the fetishized/eroticized body.

94. Art History And Theory At Essex Dawn Ades
    She has published standard works on photomontage, dada, surrealism, dada and surrealism Reviewed (with D. Sylvester and E. Cowling) ACGB London 1978  
    http://www2.essex.ac.uk/arthistory/people/Dawn_Ades.asp
    
    Extractions: [non-Essex users should add @essex.ac.uk to create full e-mail address] Dawn Ades is a Fellow of the British Academy, a trustee of Tate and was awarded an OBE in 2002 for her services to art history. She has been responsible for some of the most important exhibitions in London and overseas over the past thirty years, including Dada and Surrealism Reviewed Art in Latin America and Francis Bacon. She is currently working on the exhibition to celebrate the centenary of Salvador Dali in Venice in September 2004. She has published standard works on photomontage, Dada, Surrealism, women artists and Mexican muralists. She is Director of the Centre for Studies of Surrealism and its Legacies , funded by the Arts and Humanities Research Board. The Centre brings together the University of Essex and the University of Manchester in partnership with the Tate Gallery, London which holds one of the world's leading collections of Dada and Surrealist art. Artists and scholars from a wide variety of disciplines (history of art and film, literature, the history of science, philosophy, postcolonial studies, anthropology) will participate in a varied and exciting programme of activities hosted by the Centre. These include regular workshops and colloquia, international conferences in association with the Edward James Foundation, visiting scholars and artists-in-residence. Several major exhibitions and displays are planned.

95. Art History And Theory At Essex Undergraduate Course Outline
    AR3083-FY THE ART OF SUBVERSION dada AND surrealism This course will focus on the art and ideas of dada and surrealism, frequently looking at the  
    http://www2.essex.ac.uk/arthistory/ug/ug_course_outline.asp?coursecode=AR308-3-F

96. Calendar Archive 1 2 3 4 5 6 7 8 9 10 - Back WE JAM ECONO THE
    The Effect of dada and surrealism In Hollywood Films of the 1930 s Hollywood took dada and surrealism and cheerfully dumped them into American movies with  
    http://clintonsttheater.com/calendar.html
    
    Extractions: In December of 1969, four months after Woodstock, the Rolling Stones and Jefferson Airplane gave a free concert in Northern California, east of Oakland at Altamont Speedway. About 300,000 people came, and the organizers put Hell's Angels in charge of security around the stage. Armed with pool cues and knifes, Angels spent the concert beating up spectators, killing at least one. The film intercuts performances, violence, Grace Slick and Mick Jagger's attempts to cool things down, close-ups of young listeners (dancing, drugged, or suffering Angel shock), and a look at the Stones later as they watch concert footage and reflect on what happened.

97. Dada And Visual Arts - Olga's Gallery
    dada and surrealism (Art and Ideas) by Matthew Gale. Phaidon Press Inc, 1998. Une Semaine De Bonté A Surrealistic Novel in Collage by Max Ernst. Dover  
    http://www.abcgallery.com/list/2003mar06.html
    
    Extractions: In the beginning of the century all of them actively participated, and actually were founders, of the nihilistic movement in literature and art called Dada, or Dadaism. The movement was based on the principles of deliberate irrationality, anarchy, and cynicism and the rejection of laws of beauty and social organization. It took form simultaneously during wartime in different countries. The aim of our today's newsletter is to attract your attention to its representatives in painting, whose collections we already have in the gallery. The major figure in visual arts of the Zurich group was Jean (Hans) Arp (1887-1966), a war exile from Germany. His works of about 1916 were exercises of principles in "continuous contradiction" and "immediate spontaneity" (Tzara). Small pieces of paper were let to fall down freely on a surface and then glued to it where they had fallen. Arp declared: "The 'law of chance', which embraces all laws and is unfathomable like the first cause from which all life arises, can only be experienced through complete devotion to the unconscious." In 1930s, Arp abandoned Dada aims altogether; his creations, which followed, the so-called sculpture-in-the-round, were some abstract compounds, which he insisted were "autonomous and natural forms".

98. Art > History > Surrealism
    The avantgarde movements of dada and surrealism continue to have a huge l influence on cultural practice, especially in contemporary art,  
    http://www.libreriauniversitaria.it/BUS/r_ART015542/p_1/Surrealism.htm

99. Connections - Spirit Of Bohemia
    Neither dada nor surrealism was properly a Bohemian movement. Nonetheless, the distinctions between dada and surrealism were never wholly clear and  
    http://www.bohemiabooks.com.au/eblinks/spirboho/connections/connectionsP2.htm
    
    Extractions: The onset of World War I, combined with the success of revolution in Russia after 1917, gave rise to a potent mix of revulsion against existing society and for some faith in the possibility of its transformation. The resulting mood had parallels with the period of the 1840s. For many people, the pessimism of the fin de siecle was dissolved by the possibility of new forms of action. Cultural innovation and revolutionary politics were drawn together more powerfully than at any time since the demise of Romanticism. The Dada movement, born in Zurich in 1916, most fully embodied the spirit of unbridled revolt, dramatizing the new animosity toward bourgeois society and culture. Some of that spirit was welcomed into France after the hostilities ended, when the leading Dada figure, Tristan Tzara, arrived in Paris. But the power of Dada in France ebbed by 1922, as many of those who had supported Tzara declared their independence from the movement's undiluted negativism. These French writers, led by Andre Breton, gathered under the banner of Surrealism. Neither Dada nor Surrealism was properly a Bohemian movement.

100. The New York Review Of Books: THE ARSENAL EXPLODES
     dada and surrealism. I have been taking sightings and soundings on them for many years, writes Shattuck, and cannot find a more satisfactory distinction  
     http://www.nybooks.com/articles/10133
     
     Extractions: @import "/css/default.css"; Home Your account Current issue Archives ... Email to a friend Letter In response to The D-S Expedition: Part I May 18, 1972 To the Editors The recent two-part article by Roger Shattuck ("The D-S Expedition," NYR , May 18 and June 1) presents a summary distortion of surrealism; distortion is expected, it has never failed (and each new dispatch recalls to us by hearts and flowers the first mutterings by, say, Wallace Fowlie) the bourgeois press, and only its summary nature makes it opportune to express our complete contempt for the hollow mockery that passes, in America, as "scholarly" criticism. Misrepresentation is as close as possible to total, and so we limit ourselves to the following remarks. Dada and Surrealism . "I have been taking sightings and soundings on them for many years," writes Shattuck, "and cannot find a more satisfactory distinction between them than chronology." One thing follows upon another, chronology indeed satisfies a great many things; the question is: Who is to be satisfied? If it is the art critics, who believe themselves to be on the way up, then they may lie down, and always do, by stilled waters; for those, altogether on the other hand distinct departure which unlike dada can never be incorporated , and may be lost only in barbarism, achieved (as the notion has unfolded over half a century) only by total, permanent and violent revolution.

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