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Product Description
Hans Richter, the artist and filmmaker who helped start this radical movement, records Dada's history, from its beginnings in wartime Zurich, to its collapse in Paris in the 1920s, to its reappearance in the 1960s in movements such as Pop Art. Dada led on from Expressionism, Cubism, and Futurism, and in turn prepared the way for Surrealism. It was enlivened by extravagant and complex personalities--notably Tzara, Picabia, Arp, Schwitters, Duchamp, Ernst, and Man Ray--whose contributions are fully discussed and illustrated in this definitive work. 179 illus., 8 in color.
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Customer Reviews
Most Helpful Customer Reviews
8 of 8 people found the following review helpful
Format:Paperback
This is, in my opinion, the best introduction to what was arguably the 20th Century's most fascinating artistic movement. Why is it the best introduction? For one, it is purely on the subject of Dadaism, which is so often coupled with the much more general subject of Surrealism. Secondly, Hans Richter was genuinely involved in the movement, and is therefore suitably enthusiastic, and well versed on its every detail. Add to this the very affordable price and the comprehensive selection of illustrations and facsimiles, and 'Dada: Art and Anti-Art' becomes an invaluable document for anyone vaguely interested in the movement. The book was written in the early 60's, and it remains the definitive introduction to the world of Dada.
3 of 4 people found the following review helpful
Format:Paperback
Before I picked up the book,the word Dada meant very little to me - what it stood for and whom it atracted. written from an entirely biased view (ie. a dadaist himself), the book certainly submerges the reader into the intricacy of the movement. you learn and you learn quickly, statements are not justified by the author - what is written is simply the case.
Most Helpful Customer Reviews on Amazon.com (beta)
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9 reviews
17 of 17 people found the following review helpful
Memoir by a member of the Zurich Dada movement on Dada
10 Mar 1999
Format:Paperback
I personally found this text fascinating. Historical memoir by Hans Richter with great photos. Has personality and, of course, bias; but Richter shows restraint and moderation in his commentary. Is part of a wonderful series on art, with many plates of pictures, journal covers, poems, and photos. Probably not too terribly interesting if you are not intruiged by Dada, its "philosophy", its members, and its movement; but its definately readable if you need to do some research. Highly recommended.
14 of 15 people found the following review helpful
You Are There
28 Aug 2001
Format:Paperback
Hans Richter lived on the fringes of Zurich's Dada movement, and here offers a personal narrative of the Dada movement and its eventual successor, Surrealism. This was the first book I'd ever read on Dada and I found it quite sufficient -- all the personalities are introduced, and their motivations and how they came together are revealed. Richter is best in the earliest sections, while discussing the birth of the influential Cabaret Voltaire and how the First World War helped amplify Dada's influence in Europe. The book peters out a bit in later chapters, but is still a detailed look at the subject. If you are simply seeking an understanding of the movement, this book is a fast and entertaining read.
9 of 12 people found the following review helpful
dada, where art thou?
27 Mar 2001
Format:Paperback
In the interest of re-appropriating dada, read this book on the origins of the movement in Zurich at the Cabaret Voltaire. The Hanover period is less than compelling except for the brilliant Kurt Schwitters. His attempt to gatecrash the Club in Zurich led to marginal friendships with the progenitors - he was perceived as too bourgeois - and Schwitters went on to non-fame in exile in Britain, snubbed by the international art intelligentsia, which still denigrates his late work. Most interesting role? Hugo Ball, the impresario of the Cabaret Voltaire who championed the idea of the gesamtkunstwerk (total work of art) then dropped out to live in the Ticino in Tolstoi-esque self-induced poverty. Greatest sub-narrative? The battle for the ownership of dada by the hangers-on.
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