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Auteur Français Kamenish, Paula K., 1955-

Titre Mamas of Dada : women of the European avant-garde / Paula K. Kamenish.

Table des matières
 List of Illustrationsvi
 Prefacevii
 Acknowledgmentsxiii
 Introduction: The Problem with Dada1
1.Emmy Hennings: From Cabaret Singer to the First Mama of Dada10
2.Gabrielle Buffet and Germaine Everling: Picabia's Cacodylic Eyes37
3.Celine Arnauld: Parisian Dada's Best-Kept Secret66
4.Juliette Roche: Dada Scandals and Scoundrels94
5.Hannah Hoch: Expanding the Dada Network122
6.The Woman Dadaist: The Advantages of Being a Female Dadaist150
 Notes169
 Bibliography187
 Index195

Exemplaires

Localisation Cote Statut
 Innovative University Library  NX456.5.D3 K36 2015    AVAILABLE
Description xiii, 198 pages : illustrations ; 24 cm.
Content Type text txt rdacontent.
Type De Document unmediated n rdamedia.
Carrier Type volume nc rdacarrier.
Summary "Mamas of Dada focuses on the lives and works of six representative female supporters of the Dada movement: Emmy Hennings, Gabrielle Buffet, Germaine Everling, C©♭line Arnauld, Juliette Roche, and Hannah H©œch. Paula K. Kamenish selected these women for their avant-garde pursuits in the chief centers of Dada's rebellious activity and, more important, because they left behind a written record of their involvement with the movement, which was short lived--from 1916 to 1924--but widespread geographically. The rebellious spirit of the Dada period proved portable and adaptable, and the movement led to later forms of Surrealism at the same time that it borrowed from Expressionism, Constructivism, Futurism, and Cubism. Its influence was felt on sculpture, painting, dance, music, textile art, film, decoupage, photomontage, mask making, and poetry. Some female Dadaists were active participants--appearing in literary journals, on stage, or in galleries--while others were observant and recording witnesses, but each played a role in supporting the movement and its more prominent members. Female Dadaists motivated the hesitant Hugo Ball, tempered the mechanical Francis Picabia, and nurtured the inventive but temperamental Raoul Hausmann. Some women inspired or gave a home to a wandering Tristan Tzara, while another provided a satiric chastisement of Dadaists in New York, Barcelona, and Paris. Each woman helps us chronicle and better understand Dada's European (and sometimes American) manifestations. Unlike their Futurist and Surrealist sisters, whose contributions were grudgingly accepted by male artists and writers, female Dadaists were able to join more readily in the movement's unified attack on social norms. And, because of their individual talents and insights, they did so in ways that were often quite different from methods adopted by their male counterparts."--Publisher's Web site.
Bibliography Includes bibliographical references (pages 187-194) and index.
Sujet Dadaism -- Europe.
Women artists -- Europe.
Women and the arts -- Europe -- History -- 20th century.
Genre History. (OCoLC)fst01411628.
ISBN 9781611174687 (hardback)
1611174686 (hardback)