Along with Russian Constructivism and Surrealism, Dada stands as one of the three most significant movements of the historical avant garde. Born in the heart of Europe in the midst of World War I, Dada displayed a raucous skepticism about accepted values. Its embrace of new materials, of collage and assemblage techniques, of the designation of manufactured objects as art objects as well as its interest in performance, sound poetry and manifestos fundamentally shaped the terms of modern art practice and created an abiding legacy for postwar art. Yet, while the word Dada has common currency, few know much about Dada art itself. In contrast to other key avant-garde movements, there has never been a major American exhibition that explores Dada specifically in broad view. Dada--the catalogue to the exhibition on view in 2006 at the National Gallery of Art in Washington and The Museum of Modern Art in New York presents the hybrid forms of Dada art through an examination of city centers where Dada emerged: Zurich, Berlin, Cologne, Hanover, New York and Paris. Covered here are works by some 40 artists made in the period from circa 1916, when the Cabaret Voltaire was founded in Zurich, to 1926, by which time most of the Dada groups had dispersed or significantly transformed. The city sections bring together painting, sculpture, photography, collage, photomontage, prints and graphic work. Relying on dynamic design and vivid documentary images, Dada takes us through these six cities via topical essays and extensive plate sections; an illustrated chronology of the movement; witty chronicles of events in each city center; a selected bibliography; and biographies of each artist--accompanied by Dada-era photographs.

Dada: Zurich, Berlin, Hannover, Cologne, New York, Paris

TAYLOR, MICHAEL

Dietrich, Dorothea

Dickerman, Leah

Mileaf, Janine

Powell, Earl

Doherty, Brigid

Kriebel, Sabine

Witkovsky, Matthew

Reference

D.A.P./The National Gallery of Art, Washington

Jim Dine is a consummate draftsman whose images of tools, large-scale nudes, self-portraits, and studies from nature and after antiquity are among the most accomplished and beautiful drawings of our time. This exhibition, the first major survey of Dine's drawings in 15 years, will feature over 100 of the finest examples from the 1970s to the present. During the 1960s, Dine's name was inextricably linked with Pop art. But he made a dramatic shift during the 1970s, devoting himself to drawing from life. Drawings of Jim Dine examines the artist's accomplishment by focusing not only on works on paper but also on drawings in a purer sense: ones that largely incorporate line and rely heavily on materials such as pencil, chalk, and charcoal. Although many examples in the exhibition deviate from this standard, the emphasis is on works that demonstrate the artist's skills as a draftsman and underscore his traditional underpinnings, even as he breaks new ground. Today, drawing remains at the core of Dine's range of expression. Through a restricted assortment of obsessive images, which continue to be reinvented in various guises--birds, Pinocchio, and others--Dine presents compelling stand-ins for himself and mysterious metaphors for his art. Since the last major survey of Dine's drawings, the medium has served as an indispensable component of his creative endeavor, in many ways representing the essence of his artistic achievement.

Drawings Of Jim Dine

Arts & Photography

Brodie, Judith

History & Criticism

Steidl/National Gallery of Art, Washington

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