Destruction Was My Beatrice: Dada and the Unmaking of the Twentieth Century, by Jed Rasula
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Destruction Was My Beatrice: Dada and the Unmaking of the Twentieth Century, by Jed Rasula
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In 1916, as World War I raged around them, a group of bohemians gathered at a small cabaret in Zurich, Switzerland. After decorating the walls with art by Picasso and other avant-garde artists, they embarked on a series of extravagant performances. Three readers simultaneously recited a poem in three languages; a monocle-wearing teenager performed a spell from New Zealand; another young man sneered at the audience, snapping a whip as he intoned his “Fantastic Prayers.” One of the artists called these sessions “both buffoonery and a requiem mass.” Soon they would have a more evocative name: Dada.In Destruction Was My Beatrice, modernist scholar Jed Rasula presents the first narrative history of Dada, showing how this little-understood artistic phenomenon laid the foundation for culture as we know it today. Although the venue where Dada was born closed after only four months and its acolytes scattered, the idea of Dada quickly spread to New York, where it influenced artists like Marcel Duchamp and Man Ray; to Berlin, where it inspired painters George Grosz and Hannah Höch; and to Paris, where it dethroned previous avant-garde movements like Fauvism and Cubism while inspiring early Surrealists like André Breton, Louis Aragon, and Paul Éluard. The long tail of Dadaism, Rasula shows, can be traced even further, to artists as diverse as William S. Burroughs, Robert Rauschenberg, Marshall McLuhan, the Beatles, Monty Python, David Byrne, and Jean-Michel Basquiat, all of whom—along with untold others—owe a debt to the bizarre wartime escapades of the Dada vanguard.A globe-spanning narrative that resurrects some of the 20th century’s most influential artistic figures, Destruction Was My Beatrice describes how Dada burst upon the world in the midst of total war—and how the effects of this explosion are still reverberating today.
Destruction Was My Beatrice: Dada and the Unmaking of the Twentieth Century, by Jed Rasula- Amazon Sales Rank: #554959 in Books
- Brand: Rasula, Jed
- Published on: 2015-06-02
- Original language: English
- Number of items: 1
- Dimensions: 9.25" h x 1.25" w x 6.13" l, .0 pounds
- Binding: Hardcover
- 384 pages
Review New York Times Book Review Editors' ChoiceWall Street Journal“Detailed and entertaining.... Mr. Rasula captures the madcap history of this movement, born in one war and dissolved by another. The first group history of Dada, Destruction Is My Beatrice draws on letters and memoirs in several languages and archival debris from the cities to which the movement spread.”New York Times Book Review“Rasula uncovers why Dada didn’t expire along with the isms it either spawned or incorporated.... One of [his] insights is to reveal Dada’s kinship to jazz, and thus to the specifically American ‘modernist’ outlook that blossomed throughout the century but was more acceptable in Europe than in its birthplace ... [a] meticulous investigation.”The Economist“An eloquent new history.”Washington Post“Excellent and comprehensive.... Rasula handles his deeply researched material fluidly. He harnesses many fine details and puts them in a larger context. The result is a book that ultimately humanizes what might seem like a senseless and antagonistic period of art history.”Daily Beast“It’s quite a feat to recapture the thrill of a century-old cultural insurgency, but Jed Rasula pulls it off with gusto in Destruction Was My Beatrice, a marvelous history of the non-art non-movement that dynamited complacency and conventionality across Europe and across the Atlantic in New York for a few heady years during and after World War I. Rasula enfolds Dada’s inconsistencies and eccentricities in a lover’s embrace while treating its key people, publications, exhibitions, and events to the informed assessment of a scholar.”Los Angeles Review of Books“Rasula’s brilliant work of art history tells the story of the people, places, and ideas of Dada, and its long-lasting impact on our world.... Rasula’s primary goal is to place Dada in an artistic and political context, but beauty and fun were as much a part of the movement as its history, and so it is only fitting that the author include fun and beauty in his prose. Nonetheless, an art movement without the art is just a party — therefore the historian must also be a critic, interpreting as well as narrating for his reader. And Rasula as a critic is Rasula at his best. Without Rasula’s insightful perspective on the work, the story of Dada would have all the significance of barroom braggadocio, but he shows how the movement revalued the possibilities of art in the world.”Pittsburgh Post-Gazette“Well researched and engagingly written.”Brooklyn Rail“Adroitly weaving historical and cultural analysis with engaging cosmopolitan anecdotes, Rasula has created a big, rich, amiably peopled work of art history that also happens to be as entertaining as a novel. This is not to slight its academic rigor; rather, Destruction is that rare bird of scholarly work that is both impeccably researched and compulsively readable, a bona fide page-turner that isn’t afraid to show off its erudition.”Shelf Awareness“[An] insightful contribution to art history.... Filled with fascinating details and memorable personalities. A thoroughly enjoyable and accessible history of Dada.”Library Journal“This comprehensive study covers everything from the irreverence of the art and performances to fights among key players. [A] detailed look into the rise and fall of Dada.”Publishers Weekly“Rasula’s focus on Francis Picabia and Kurt Schwitters covers new ground in addition to illustrating how well-known artists such as Man Ray, Max Ernst, and Marcel Duchamp fit into the collective movement. The book is also a fascinating history of place, as it traces the spread of Dada from the cabarets of Switzerland to the cafes of Paris, art fairs of Berlin, and galleries of New York. This accessible yet rigorous and comprehensive study outlines the history of a movement whose irreverence and inventiveness still influence our world today.”Kirkus Reviews“This comprehensive study of artists, exhibits, writings, and events is a heady trip.... A well-researched survey that shows the scope of Dada and its influence on the art world.”Greil Marcus, author of Lipstick Traces“'Only imbeciles and Spanish professors care about dates,' Hans Arp once wrote about Dada. Jed Rasula knows about dates, but unlike so many, he feels Dada on his skin. He writes and thinks from inside this crystallization of modernism, and he can follow its light anywhere.”Geoffrey O’Brien, author of Sonata for Jukebox and Stolen Glimpses, Captive Shadows“Jed Rasula’s mercurial curiosity and awesome erudition make him the ideal guide to that brief, mysterious moment when Dada became an international phenomenon whose provocations continue to reverberate. The exhilarating collaborations and equally frequent conflicts among a cast of amazing personalities make for a compelling and eye-opening narrative.”Anne-Marie O’Connor, author of The Lady in Gold: The Extraordinary Tale of Gustav Klimt’s Masterpiece, Portrait of Adele Bloch-Bauer“A fascinating, splendidly detailed portrait of an era when poems and paintings mattered, vividly peopled by the stars of the incendiary artistic movement whose liberating legacy can be felt in the work of everyone from T.S. Eliot and James Joyce to the Beatles and Talking Heads. In an art world overshadowed by celebrity brands and market valuations, Jed Rasula allows us to relive a moment when artists promised to be ‘thoroughly new and inventive’ and ‘rewrite life every day.’”Marjorie Perloff, author of The Futurist Moment: Avant-Garde, Avant-Guerre, and the Language of Rupture“Dada: a familiar word we all toss around. But who were the Dadaists really? What did they accomplish? How did Dada relate to other avant-garde movements like Constructivism? Was Dada a historical phenomenon or is it a state of mind? The great feat of Jed Rasula’s extraordinarily lively and compelling narrative is to defamiliarize Dada so that we see its evolution as if for the first time. A genuinely delightful book!”Francis M. Naumann, curator and author of The Recurrent, Haunting Ghost: Essays on the Art, Life and Legacy of Marcel Duchamp“An informative, lively, and entertaining narrative of Dada. A virtual biography of an enormously influential art movement on the 100th anniversary of its birth.”Timothy O. Benson, Curator, Robert Gore Rifkind Center for German Expressionist Studies, Los Angeles County Museum of Art“A readable narrative that rejoices in the spirit of Dada’s fleeting existence, never alighting on the precast definitions that have often shackled previous explanations. Rasula brings the Dadaists to life in vivid accounts of their interactions, aspirations, mishaps, and triumphs.”
About the Author Jed Rasula is the Helen S. Lanier Distinguished Professor of English at the University of Georgia. The author of several scholarly works on literature and modernism, as well as two books of poetry, he lives in Athens, Georgia.
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16 of 20 people found the following review helpful. like the profoundly tragic german painter Max Ernst (he was ... By Matt R. Lohr Reading Jed Rasula's "Destruction Was My Beatrice" was a fascinating experience. I am generally a fan of most modern and contemporary art, and have gotten much out of surrealists, abstract expressionists, and numerous other arts movements that have followed in the wake of the conscious provocations and anti-art stunts of the Dadaists of the 1910s and '20s. But I didn't honestly know much about the work of the artists themselves, what their work meant to the world of the time, even really who they were personally or what they had hoped to accomplish through their work.And there's no denying that Rasula's book is deeply researched, elegantly written, and full of fascinating stories and quotes. I learned much about figures I never really knew about, like the profoundly tragic german painter Max Ernst (he was engaged deeply in a menage a trois for several years, and was treated like yesterday's refuse by virtually every country in Europe during both wars), the figurative-bomb-throwing Rumanian provocateur Tristan Tzara, and the intriguingly homebody-ish Kurt Schwitters, who cobbled together an artistic world from found bits of refuse and other people's garbage. He also further delineates the contributions of more familiar-to-me artists like Man Ray and Marcel Duchamp; cites the influence of jazz and Chaplin on the Dadaists; and discusses the most tragic and fascinating art exhibit in history, the Nazis' 1937 exhibition of "degenerate art," a touring collection of works by the Dadaists and others that garnered huge crowds who toured the galleries with something very like "reverence."But as the book went on, I found myself growing increasingly angry. I believe that much of the work when appreciating modern art must be done by the viewer; his own experience and what he takes into the gallery with him is just as important, in some ways more important, than what the artist was trying to "say" in order for the artwork to have its full effect. (I remember once, at an international exhibit at the Carnegie Museum in Pittsburgh, having to flee a gallery full of old wooden cabinets filled with cement, because for some reason, looking at these pieces, I was overwhelmed with Holocaust-related imagery, which had nothing overtly to do with the artwork at all.) But the Dadaists never let you get a chance to do that, because they were too busy cracking whips and throwing garbage at you while yelling, "This is art! This is important!" Rasula creates the sense that the Dadaists spent more time defining the movement, explaining it to other people, and defending it to each other than actually creating artwork. If 90% of your movement consists of defining your movement, I don't know if you actually have a real movement. And I began to get frustrated with Tzara, Francis Picabia and the entire bunch of them. I started feeling like maybe these people were nothing but poseurs and frauds.And then it occurred to me that I was getting angry about the art practices of a group of people I'd never met who did this stuff a hundred years ago in another country. And I thought, hmm. The Dadaists' tricks still seem to have some bite to them. Good for them.
1 of 1 people found the following review helpful. Readable, thoughtful history of a foundational modern art movement By Erik Strommen This is a lovingly rendered, detailed history of (in my view) THE seminal artistic and intellectual movement of the early 20th century. Read this book and you will get to know the motley group of international refugees who forged it, and how their ideas fertilized the diverse movements of surrealism and constructivism that followed, and how their innovative artistic treatment of modern media, like collage, are now commonplaces of modern artistic techniques. The text is well written, and the author does a great job of following the people and the ideas as they move from country to country, and city to city. The afterword is a masterful and sympathetic summary and appraisal of Dada well worth reading just of itself.The one thing to be aware of as a potential reader is that there are very few actual examples of the various artworks in question in the book. If you are not familiar with them, it helps to read up on the individual artists and see their work so you can understand what the fuss was about. The author assumes you are familiar.I learned a lot reading this book. Highly recommended.
2 of 2 people found the following review helpful. Art and literary history: the book of the year. By Lou Rowan Resourceful, full of lively detail and intelligent observation--a most important book!
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