George
Grosz, Suicide, 1916
© DACS, 2002
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Session 3: Dada to Surrealism: Continuity and
Difference
This talk traces some of the issues which
informed work in the different Dada centres, establishing their
origins and concerns, and considering how the relationships between
the different moments can be characterized. Martin Gaughan explores
the sense in which Dada, as developed in the centres of Zürich,
Cologne and New York, can be seen as a precursor to Surrealism,
as elaborated in Paris under the direction of Andre Breton. However
Berlin Dada had a different, more politically engaged, set of
interests.
Webcast
of Session 3 (Real Media stream)
Speaker: Martin Gaughan, writer and former
Head of the History and Theory of Art at the University of Wales
Institute, Cardiff .
Suggested Further Reading
- Paul Wood, 'The revolutionary avant-gardes:
Dada, Constructivism and Surrealism', P. Wood ed., The
Challenge of the Avant-Garde, Yale University Press, 1999,
pp.226-5
- Gail Day, 'Art, love and social emancipation:
on the concept "avant-garde" and the interwar avant-gardes',
S. Edwards & P. Wood eds, Art of the Avant-Gardes,
Yale University Press, 2004, pp.307-337.
- Martin Gaughan, 'Narrating the Dada game plan',
S. Edwards & P. Wood eds, Art of the Avant-Gardes, Yale
University Press, 2004, pp.339-35
- Steve Edwards, 'Profane Illumination': photography
and photomontage in the USSR and Germany', S. Edwards &
P. Wood eds, Art of the Avant-Gardes, Yale University
Press, 2004, pp.397-425
- Fiona Barber, 'Surrealism 1924-1929', S. Edwards &
P. Wood eds, Art of the Avant-Gardes, Yale University Press,
2004, pp.397-425
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