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Author: Irene Gammel
Publisher: MIT Press
ISBN: 9780262572156
Category : Art
Languages : en
Pages : 580
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Book Description
The first biography of the enigmatic dadaist known as "the Baroness"—Elsa von Freytag-Loringhoven. Elsa von Freytag-Loringhoven (1874–1927) is considered by many to be the first American dadaist as well as the mother of dada. An innovator in poetic form and an early creator of junk sculpture, "the Baroness" was best known for her sexually charged, often controversial performances. Some thought her merely crazed, others thought her a genius. The editor Margaret Anderson called her "perhaps the only figure of our generation who deserves the epithet extraordinary." Yet despite her great notoriety and influence, until recently her story and work have been little known outside the circle of modernist scholars. In Baroness Elsa, Irene Gammel traces the extraordinary life and work of this daring woman, viewing her in the context of female dada and the historical battles fought by women in the early twentieth century. Striding through the streets of Berlin, Munich, New York, and Paris wearing such adornments as a tomato-soup can bra, teaspoon earrings, and black lipstick, the Baroness erased the boundaries between life and art, between the everyday and the outrageous, between the creative and the dangerous. Her art objects were precursors to dada objects of the teens and twenties, her sound and visual poetry were far more daring than those of the male modernists of her time, and her performances prefigured feminist body art and performance art by nearly half a century.
Author: Irene Gammel
Publisher: MIT Press
ISBN: 9780262572156
Category : Art
Languages : en
Pages : 580
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Book Description
The first biography of the enigmatic dadaist known as "the Baroness"—Elsa von Freytag-Loringhoven. Elsa von Freytag-Loringhoven (1874–1927) is considered by many to be the first American dadaist as well as the mother of dada. An innovator in poetic form and an early creator of junk sculpture, "the Baroness" was best known for her sexually charged, often controversial performances. Some thought her merely crazed, others thought her a genius. The editor Margaret Anderson called her "perhaps the only figure of our generation who deserves the epithet extraordinary." Yet despite her great notoriety and influence, until recently her story and work have been little known outside the circle of modernist scholars. In Baroness Elsa, Irene Gammel traces the extraordinary life and work of this daring woman, viewing her in the context of female dada and the historical battles fought by women in the early twentieth century. Striding through the streets of Berlin, Munich, New York, and Paris wearing such adornments as a tomato-soup can bra, teaspoon earrings, and black lipstick, the Baroness erased the boundaries between life and art, between the everyday and the outrageous, between the creative and the dangerous. Her art objects were precursors to dada objects of the teens and twenties, her sound and visual poetry were far more daring than those of the male modernists of her time, and her performances prefigured feminist body art and performance art by nearly half a century.
Author: Anne Mette
Publisher: GRIN Verlag
ISBN: 3640399293
Category : Literary Collections
Languages : en
Pages : 18
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Book Description
Seminar paper from the year 2006 in the subject American Studies - Culture and Applied Geography, grade: 1, Friedrich-Alexander University Erlangen-Nuremberg (Anglistik), course: Proseminar "Start Spreading the News": New York and Early Modernism, language: English, abstract: Never conventional, never following the rules of any given norm, but in contrast, making ironic statements on society, turning “normal” items, traditions or circumstances into absurdity. This was what Dada artists like Marcel Duchamp, Francis Picabia, Man Ray, the Baroness Elsa von Freytag-Loringhoven and other practitioners were aiming at. A well-remembered incident is the scandal that introduced the concept of Dadaism into American Art. Duchamp brought a urinal to the first exhibition of the Society of Independent artists on 10 April 1917. He did not change anything, but moved it from its original place, called it “Fountain” and signed it with the pseudonym “R. Mutt”. Only four days before the exhibition took place, president Woodrow Wilson had declared war on Germany. As Michael R. Taylor writes in his essay “New York Dada”, this event “may have played a role in Duchamp’s decision to enter his scandalous submission”. The New York Dada artists wanted to show their neglect of the cruel war in Europe and with their art challenged ideas about art which were commonly accepted. They produced “paintings, mixed-media assemblages, sculptures, found objects, readymades, photography, and performances” (Taylor, 277). With the photomontage, the film or a photography the author of a work could not be guessed by looking at the work of art (Taylor, 277), the importance of the work was rather the message behind it. The message to a society which had absurd traditions, absurd machineries whith which people killed each other and a society that had cultural prejudices, which again were absurd. Having this common interest the New York Dada artists soon came together in the appartment of Louise and Walter Arensberg in 33 West 67th Street which served for their meetings from 1915 to 1921. “It was while surrounded by this stunning array of paintings and sculpture that the group members hotly debated such topics as art, literature, sex, politics, and psychoanalysis, while others preferred to play chess, drink champagne, or dance the night away in their bare feet.” (Taylor, 278).
Author: Elsa Von Freytag-Loringhoven
Publisher: MIT Press
ISBN: 0262302888
Category : Literary Criticism
Languages : en
Pages : 435
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Book Description
The first major collection of poetry written in English by the flabbergasting and flamboyant Baroness Elsa, “the first American Dada.” As a neurasthenic, kleptomaniac, man-chasing proto-punk poet and artist, the Baroness Elsa von Freytag-Loringhoven left in her wake a ripple that is becoming a rip—one hundred years after she exploded onto the New York art scene. As an agent provocateur within New York's modernist revolution, “the first American Dada” not only dressed and behaved with purposeful outrageousness, but she set an example that went well beyond the eccentric divas of the twenty-first century, including her conceptual descendant, Lady Gaga. Her delirious verse flabbergasted New Yorkers as much as her flamboyant persona. As a poet, she was profane and playfully obscene, imagining a farting God, and transforming her contemporary Marcel Duchamp into M'ars (my arse). With its ragged edges and atonal rhythms, her poetry echoes the noise of the metropolis itself. Her love poetry muses graphically on ejaculation, orgasm, and oral sex. When she tired of existing words, she created new ones: “phalluspistol,” “spinsterlollipop,” “kissambushed.” The Baroness's rebellious, highly sexed howls prefigured the Beats; her intensity and psychological complexity anticipates the poetic utterances of Anne Sexton and Sylvia Plath. Published more than a century after her arrival in New York, Body Sweats is the first major collection of Elsa von Freytag-Loringhoven's poems in English. The Baroness's biographer Irene Gammel and coeditor Suzanne Zelazo have assembled 150 poems, most of them never before published. Many of the poems are themselves art objects, decorated in red and green ink, adorned with sketches and diagrams, presented with the same visceral immediacy they had when they were composed.
Author: Amelia Jones
Publisher: MIT Press (MA)
ISBN:
Category : Art
Languages : en
Pages : 352
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Book Description
A revisionist history of New York Dada, with appearances by Baroness Elsa as the embodiment of irrational modernism.
Author: Elsa von Freytag-Loringhoven
Publisher:
ISBN: 9780887508974
Category : Art
Languages : en
Pages : 233
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Book Description
Author: Anne Mette
Publisher: GRIN Verlag
ISBN: 3640398785
Category : Biography & Autobiography
Languages : en
Pages : 41
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Book Description
Seminar paper from the year 2006 in the subject American Studies - Culture and Applied Geography, grade: 1, Friedrich-Alexander University Erlangen-Nuremberg (Anglistik), course: Proseminar "Start Spreading the News" New York and Early Modernism, language: English, abstract: Never conventional, never following the rules of any given norm, but in contrast, making ironic statements on society, turning "normal" items, traditions or circumstances into absurdity. This was what Dada artists like Marcel Duchamp, Francis Picabia, Man Ray, the Baroness Elsa von Freytag-Loringhoven and other practitioners were aiming at. A well-remembered incident is the scandal that introduced the concept of Dadaism into American Art. Duchamp brought a urinal to the first exhibition of the Society of Independent artists on 10 April 1917. He did not change anything, but moved it from its original place, called it "Fountain" and signed it with the pseudonym "R. Mutt". Only four days before the exhibition took place, president Woodrow Wilson had declared war on Germany. As Michael R. Taylor writes in his essay "New York Dada", this event "may have played a role in Duchamp's decision to enter his scandalous submission". The New York Dada artists wanted to show their neglect of the cruel war in Europe and with their art challenged ideas about art which were commonly accepted. They produced "paintings, mixed-media assemblages, sculptures, found objects, readymades, photography, and performances" (Taylor, 277). With the photomontage, the film or a photography the author of a work could not be guessed by looking at the work of art (Taylor, 277), the importance of the work was rather the message behind it. The message to a society which had absurd traditions, absurd machineries whith which people killed each other and a society that had cultural prejudices, which again were absurd. Having this common interest the New York Dada artists soon came together in the appartment of Louise and Walter Arensb
Author: Naomi Sawelson-Gorse
Publisher: MIT Press
ISBN: 9780262692601
Category : Architecture
Languages : en
Pages : 720
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Book Description
his book is the first to make the case that women's changing role in European and American society was critical to Dada.
Author: Ruth Brandon
Publisher: Simon and Schuster
ISBN: 1643138626
Category : Biography & Autobiography
Languages : en
Pages : 218
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Book Description
In 1913 Marcel Duchamp's Nude Descending a Staircase exploded through the American art world. This is the story of how he followed the painting to New York two years later, enchanted the Arensberg salon, and—almost incidentally—changed art forever. In 1915, a group of French artists fled war-torn Europe for New York. In the few months between their arrival—and America’s entry into the war in April 1917—they pushed back the boundaries of the possible, in both life and art. The vortex of this transformation was the apartment at 33 West 67th Street, owned by Walter and Louise Arensberg, where artists and poets met nightly to talk, eat, drink, discuss each others’ work, play chess, plan balls, organise magazines and exhibitions, and fall in and out of love. At the center of all this activity stood the mysterious figure of Marcel Duchamp, always approachable, always unreadable. His exhibit of a urinal, which he called Fountain, briefly shocked the New York art world before falling, like its perpetrator, into obscurity. Many people (of both sexes) were in love with Duchamp. Henri-Pierre Roché and Beatrice Wood were among them; they were also, briefly, and (for her) life-changingly, in love with each other. Both kept daily diaries, which give an intimate picture of the events of those years. Or rather two pictures—for the views they offer, including of their own love affair, are stunningly divergent. Spellbound by Marcel follows Duchamp, Roché, and Beatrice as they traverse the twentieth century. Roché became the author of Jules and Jim, made into a classic film by François Truffaut. Beatrice became a celebrated ceramicist. Duchamp fell into chess-playing obscurity until, decades later, he became famous for a second time—as Fountain was elected the twentieth century’s most influential artwork.
Author: Rene Steinke
Publisher: Harper Collins
ISBN: 0061734519
Category : Fiction
Languages : en
Pages : 614
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Book Description
No one in 1917 New York had ever encountered a woman like the Bar-oness Elsa von Freytag-Loringhoven -- poet, artist, proto-punk rocker, sexual libertine, fashion avatar, and unrepentant troublemaker. When she wasn't stalking the streets of Greenwich Village wearing a brassiere made from tomato cans, she was enthusiastically declaiming her poems to sailors in beer halls or posing nude for Man Ray or Marcel Duchamp. In an era of brutal war, technological innovation, and cataclysmic change, the Baroness had resolved to create her own destiny -- taking the center of the Dadaist circle, breaking every bond of female propriety . . . and transforming herself into a living, breathing work of art.
Author: Leah Dickerman
Publisher: National Gallery of Art, Washington/D.A.P.
ISBN:
Category : Art
Languages : en
Pages : 542
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Book Description
Edited by Leah Dickerman. Essays by Brigid Doherty, Sabine T. Kriebel, Dorothea Dietrich, Michael R. Taylor, Janine Mileaf and Matthew S. Witkovsky. Foreword by Earl A. Powell III.
