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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.

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.

With designs for book jackets, magazines, and political pamphlets, John Heartfield (1891–1968) established himself as Berlin’s most innovative graphic designer of the Weimar period. While he was initially associated with the Dada movement, his affiliations with the communist party and the rise of Nazism eventually led him to change his approach, shifting his artistic output to spreading messages and fighting political opponents. Dissecting and reassembling press images with great verve and humor, Heartfield created photomontages that aimed to reveal the bitter truths of contemporary politics to a mass audience. Oscillating between innovative graphic design, agitation, and political propaganda, Heartfield was, quite literally, cutting-edge. This lavishly illustrated volume draws on the rich collection of Heartfield’s work found in of the Akademie der Künste’s archives, given to the museum by Heartfield himself. In this book we see the full scope of Heartfield’s artistic output, and we get insight into some lesser-known aspects of his oeuvre, such as his theater designs. In addition, a plethora of archival material illuminates Heartfield’s ideas, biography, and creative network, while statements on his work by contemporary artists and thinkers raise crucial questions about the function of political art and “fake news.” The resulting volume reveals the artist firmly embedded in his own time even as his work has particular resonance in our own.

With designs for book jackets, magazines, and political pamphlets, John Heartfield (1891–1968) established himself as Berlin’s most innovative graphic designer of the Weimar period. While he was initially associated with the Dada movement, his affiliations with the communist party and the rise of Nazism eventually led him to change his approach, shifting his artistic output to spreading messages and fighting political opponents. Dissecting and reassembling press images with great verve and humor, Heartfield created photomontages that aimed to reveal the bitter truths of contemporary politics to a mass audience. Oscillating between innovative graphic design, agitation, and political propaganda, Heartfield was, quite literally, cutting-edge. This lavishly illustrated volume draws on the rich collection of Heartfield’s work found in of the Akademie der Künste’s archives, given to the museum by Heartfield himself. In this book we see the full scope of Heartfield’s artistic output, and we get insight into some lesser-known aspects of his oeuvre, such as his theater designs. In addition, a plethora of archival material illuminates Heartfield’s ideas, biography, and creative network, while statements on his work by contemporary artists and thinkers raise crucial questions about the function of political art and “fake news.” The resulting volume reveals the artist firmly embedded in his own time even as his work has particular resonance in our own.

Trout Mask Replica is a touchstone in the history of recorded music. The mix of dada absurdist blues and previously unexplored experimental avenues has long been praised as one of the greatest albums of all time. As so eloquently put by John Peel, "If there has been anything in the history of popular music which could be described as a work of art in a way that people who are involved in other areas of art would understand, then Trout Mask Replica is probably that work." In full partnership w

Collage has an outstanding tradition in the modern visual arts. Influenced by surrealism and Dada as well as constructivism, the technique was firmly established as an art form in the 1920s and 1930s through the work of artists such as John Heartfield, El Lissitzky, and Hannah Hoch. Today, a new generation of young artists and illustrators is rediscovering collage. Cutting Edges is a collection of current artistic work that unites unrelated elements to create something new. Although the artists also use the computer for the purpose of montage, most of the featured collages are made by hand and often include found objects. It is not only the addition of visual elements that is important to the work, but also their deliberate omission, deletion, and destruction. While the combination of very different materials is charmingly reminiscent of the past, the innovative work in Cutting Edges proves that a new era ofcollage has begun. Texts by curator Dr. Silke Krohn put this current redisc

From Bauhaus to Dada, from Virginia Woolf to John Dos Passos, the Modernist movement revolutionized the way we perceive, portray, and participate in the world. This landmark anthology is a comprehensive documentary resource for the study of Modernism, bringing together more than 150 key essays, articles, manifestos, and other writings of the political and aesthetic avant-garde between 1840 and 1950.By favoring short extracts over lengthier originals, the editors cover a remarkable range and variety of modernist thinking. Included are not just the familiar high modernist landmarks such as Gustave Flaubert, Ezra Pound, and James Joyce, but also a diverse representation from the sciences, politics, philosophy, and the arts, including Charles Darwin, Thorstein Veblen, W. E. B. Du Bois, Isadora Duncan, John Reed, Adolf Hitler, and Sergei Eisenstein. Another welcome feature is a substantial selection of hard-to-find manifestos from the many modernist movements, among them futurism, cubism, Dada, surrealism, and anarchism.

Over the past century, an art form has emerged that draws from the worlds of visual art and music. Sound art’s roots can be found in the experimental work of Italian Futurism, Dada, and later the Fluxus group and the pioneering efforts of the American composer and artist John Cage. In the wake of this groundbreaking work, sound art began to mature into a movement, and artists explored the interactive possibilities of sound and in turn created entirely new modes of experiencing and engaging with art. In this volume, the complete story of sound art is told by one of the country’s leading critics and scholars. The author traces the history of this form of art–highlighting the convergence of the indie world bands such as Sonic Youth with the art world–looking at the critical cross-pollination that has led to some of the most important and challenging art being produced today, including work by Christian Marclay, LaMonte Young, Janet Cardiff, Rodney Graham, and Laurie Anderson, among many others.

Jim Dine, among whose earliest major successes were late 1950s Happenings (on which he worked with Claes Oldenburg and John Cage, among others), has been associated with Pop, Neo-Dada and other mischievous movements of his era, and has survived them all. His visual work in mixed-media assemblages, to which he attached emotion-tugging souvenirs including clothing, shoes, rope and tools, led into what has become a remarkable, continually evolving corpus of paintings, sculpture, photographs, and, increasingly importantly, prints. Working not just from his own studios in Vermont, New York and London, but with production houses in Los Angeles, Vienna, Rome and Paris to name but a few, he has been creating editions that push the limits of their media in size and scope, full of persistent icons and themes, lately more often from nature than around the house. Owls, hands, trees, apes and ravens have taken their places alongside his hearts and palettes and bathrobes. This important survey brings together more than 200 works covering a fertile 20-year period in the thick of Dine's printmaking, and during a time when printmaking has been in the thick of his artistic practice. It includes original etchings, lithographs, woodcuts and limited edition artists' books, and several particularly important series, such as the 12 large woodcuts, Winter Dream (for V.), 55 Portraits and his latest lithographs, which reflect an ongoing obsession with Pinocchio.

Over the past century, an art form has emerged that draws from the worlds of visual art and music. Sound art’s roots can be found in the experimental work of Italian Futurism, Dada, and later the Fluxus group and the pioneering efforts of the American composer and artist John Cage. In the wake of this groundbreaking work, sound art began to mature into a movement, and artists explored the interactive possibilities of sound and in turn created entirely new modes of experiencing and engaging with art. In this volume, the complete story of sound art is told by one of the country’s leading critics and scholars. The author traces the history of this form of art–highlighting the convergence of the indie world bands such as Sonic Youth with the art world–looking at the critical cross-pollination that has led to some of the most important and challenging art being produced today, including work by Christian Marclay, LaMonte Young, Janet Cardiff, Rodney Graham, and Laurie Anderson, among many others.

Collage has an outstanding tradition in the modern visual arts. Influenced by surrealism and Dada as well as constructivism, the technique was firmly established as an art form in the 1920s and 1930s through the work of artists such as John Heartfield, El Lissitzky, and Hannah Hoch. Today, a new generation of young artists and illustrators is rediscovering collage. Cutting Edges is a collection of current artistic work that unites unrelated elements to create something new. Although the artists also use the computer for the purpose of montage, most of the featured collages are made by hand and often include found objects. It is not only the addition of visual elements that is important to the work, but also their deliberate omission, deletion, and destruction. While the combination of very different materials is charmingly reminiscent of the past, the innovative work in Cutting Edges proves that a new era ofcollage has begun. Texts by curator Dr. Silke Krohn put this current redisc