Generation Dada

The Berlin Avant-Garde and the First World War

Michael White

View Inside Price: $50.00


December 10, 2013
382 pages, 7 1/2 x 10
20 color + 130 b/w illus.
ISBN: 9780300169034
Cloth



For the Berlin Dadaists, their identity as a collective—Club Dada, to members—was an integral part of their artistic practice. But the circumstances that brought together the likes of George Grosz, John Heartfield, Raoul Hausmann, and Johannes Baader—renamed Propaganda Marshall, Monteurdada, Dadasoph, and Oberdada within the organization—have remained largely unexamined until now. Drawing on extensive archival research, this book documents the group's beginnings in wartime Berlin and reveals how these relationships influenced its provocative acts, which were inextricably tied to the era's chaos and brutality.


 


Studying how the Dadaists saw themselves as a new generation—in contrast to their pacifist forebears, the Expressionists—the book sheds light on key developments and events, such as the First International Dada Fair, held in Berlin in 1920. It also offers the first serious consideration of the group's role in constructing its own legacy, even as the works were deliberately rooted in the ephemeral.


Michael White is reader in the history of art at the University of York and is best known internationally for his research on the early-20th-century De Stijl group in the Netherlands. 


‘With Generation Dada, White has presented readers with a powerful new portrait of an avant-garde that flourished in one of the most fraught cities of the early twentieth century.’—Catherine Craft, Burlington Magazine

“In a well researched, detailed examination of the Berlin avant-garde in the context of WWI, White . . . offers a fresh analysis of the key events and personal relationships that helped form the artistic practices of some of the central figures of the German Dada movement. In an informative but refreshingly accessible style, the author manages to pay close attention to the intricacies of cultural and historical context as well as the formal elements of the works themselves . . . demonstrating a keen eye for the relationship between content and form.”—Choice