Books in Crisis and the Arts series

Eastern Dada Orbit is composed of two distinct parts and describes two largely unexplored aspects of Dada. The first, Dada in Central and Eastern Europe (including the former Soviet Union), edited by Gerald Janecek, was a previously closed field that scholars have since discovered reveals the significant influence of Dada on the region. The second part of this volume, Tada=Dada (Devotedly Dada) for the Stage: The Japanese Dada Movement 1920-1925, focuses upon the equally under researched area of Dada in Japan. Toshiharu Omuka traces the particular place of Dada within the dynamic development of Japanese modernism.

Dada: The Coordinates of Cultural Politics provides parameters for the historical and sociological context of Dada. In a collection of essays from internationally respected scholars, this volumes offers a nuanced explanation of Dadas appearance in the visual arts, theater, media and literature. It further examines the relatinship between the various manifestos of the Dada movement and the artwork that came out of it. Finally essayists address the relevance of the study of Dada to contemporary issues and concerns.

In the same month that the single issue of the only official New York Dada magazine was published, April 1921, the Société Anonyme arranged a formal session to discuss the question What is Dada? This volume attempts to address that question through a series of engaging essays by such well-known New York Dada scholars as Martin Gaughan, Estera Milman, Ruth L. Bohan, Dickran Tashjian, Naomi Sawelson-Gorse, Michel Sanouillet, David Hopkins and Dafydd Jones. 01

Paris Dada stands apart from the other Dada-doms treated in this series because of the sometimes complicated interaction between the French writers and artists associated with the movement and the band of avant-garde foreigners who flocked to Paris at the end of World War I. These foreigners -- Tzara, Picabia, Man Ray, Iliazd, et al -- were largely uninfluenced by the French tradition of mainly civil art and a call to return to order after the war. In this volume, editor Elmer Peterson has brought together essays that clearly show the interaction between the newcomers and the Parisian Dadaists that shaped this time in the history of the radical art movement. 01

In examining Dada in the Low Countries, Hubert van den Berg is faced with a complex situation that as much critiqued as embraced Dada. Largely an individual affair, and lacking the community center of Dada in Zurich, Berlin. And the other Dada capitals, | van den Berg focuses equally on Dadas reception and on its exercise. Primarily a case of selective appropriation, Dada in the Low Countries nevertheless possessed an international reach, achieved in the relationships it posed between Dada and the Post-World War I Constructivist International and De Stijl. For the author, Dada in Belgium and the Netherlands is less a case of its |story| than of specific cases of its |use.| The involvement of Clement Pansaers, Paul van Ostaijen, Theo van Doesburg, and German artist Kurt Schwitters figure prominently in the historical mapping of van den Bergs complex and elusive subject.|PIM|31-MAY-18|01

Despite the short life of the Dada movement, it has provoked the interest of art historians, museum directors and literary critics from all over the world. The present volume comprises the literary texts of individual Dadaists and periodicals from all Dada centers as well as books, articles, exhibition catalogs and bibliographies by international scholars. Jörgen Schäfers Exquisite Dada is the most exhaustive bibliography on Dada that has ever been compiled so far. By giving a synopsis of some decades of scholarly research, it provides an indispensable source for further studies on the matter.

This volume combines two works, Rage and Liberation: Dada in Cologne and Hanover Dada: Transaction, Transformation and the Tradition of Modernism. Written by Charlotte Stokes, Rage and Liberation discusses the brief coalition between individuals committed to radical political action and innovation in the arts, while Hanover Dada, edited by Stephen C. Foster, presents this face of Dada as a complex phenomenon that extended beyond the artwork of Kurt Schwitters.