Publication : Hans Arp

Hans Arp. Ovi Bimba
Edited by Melanie Dankbar, Juri Steiner
Text: Juri Steiner
JRP Ringier Kunstverlag AG 2012English / German
104 pages, 107 color and 8 b/w ills.
ISBN: 978-3-03764-297-9

The Zurich works
In 1916, Arp was invited by Hugo Ball to take part in the Cabaret Voltaire at Spiegelgasse 1 in Zurich. The now iconic event marked the birth of Dadaism and the beginnings of a long overdue breakthrough for Arp. "Ovi Bimba" is a revelatory publication exploring these early years of Arp’s practice, focusing on his time in Zurich during the birth of Dada to his sculptures in the 1940s and 1950s.

The publication positions these diverse pieces alongside those of Arp's fellow artists, including his wife, Sophie Taeuber-Arp. 

Kurt Bartsch, Ralf Burmeister, Adelheid Koch-Didier, Stefan Schwar
Raoul Hausmann (1886–1971)
Werkverzeichnis – Biografie – Bibliografie.

Series: Die Deutsche Literatur (DDL)
Reihe VI: Die Deutsche Literatur zwischen 1890 und 1990
Abteilung A: Autorenlexikon

frommann-holzboog Verlag : Stuttgart 2011
16 *, 195 p. 78 ill. (11 color)
17,0 x 24,5 cm.

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An Audience of Artists

An Audience of Artists
Dada, Neo-Dada, and the Emergence of Abstract Expressionism
Catherine Craft
The University of Chicago Press 2012
http://press.uchicago.edu
336 p.
ISBN 978-0226116808

The term Neo-Dada surfaced in New York in the late 1950s and was used to characterize young artists like Robert Rauschenberg and Jasper Johns whose art appeared at odds with the serious emotional and painterly interests of the then-dominant movement, Abstract Expressionism. Neo-Dada quickly became the word of choice in the early 1960s to designate experimental art, including assemblage, performance, Pop art, and nascent forms of minimal and conceptual art.

An Audience of Artists turns this time line for the postwar New York art world on its head, presenting a new pedigree for these artistic movements. Drawing on an array of previously unpublished material, Catherine A. Craft reveals that Neo-Dada, far from being a reaction to Abstract Expressionism, actually originated at the heart of that movement’s concerns about viewers, originality, and artists’ debts to the past and one another. Furthermore, she argues, the original Dada movement was not incompatible with Abstract Expressionism. In fact, Dada provided a vital historical reference for artists and critics seeking to come to terms with the radical departure from tradition that Abstract Expressionism seemed to represent. Tracing the activities of artists such as Robert Motherwell, Barnett Newman, and Jackson Pollock alongside Marcel Duchamp’s renewed embrace of Dada in the late 1940s, Craft composes a subtle exploration of the challenges facing artists trying to work in the wake of a destructive world war and the paintings, objects, writings, and installations that resulted from their efforts.

Providing the first examination of the roots of the Neo-Dada phenomenon, this groundbreaking study significantly reassesses the histories of these three movements and offers new ways of understanding the broader issues related to the development of modern art.

Hugo-Ball-Almanach 2012

Hugo-Ball-Almanach

Studien und Texte zu Dada

Neue Folge 3, 2012

ed. by Eckhard Paul for the
City of Pirmasens and the Hugo-Ball-Gesellschaft.
Published by edition text + kritik, Munich

www.etk-muenchen.de/
Content:

Hubert F. van den Berg
Deutsche »Kunst- und Kulturpropaganda« in der Galerie Dada? Die Sturm-Ausstellung und ihre Hintergründe

Maro Pionzi
Die Kunst des Schweigens. Hugo Ball zwischen Anarchie und Askese

Klaus H. Kiefer
Hugo Balls Wort-Spiele

Oliver Ruf
»Der Künstler und die Zeitkrankheit«. Zur therapeutischen Ästhetik zeitgenössischer Provenienz bei Hugo Ball

Walburga Krupp
Sophie Taeuber - Dada als Sprungbrett zur Kunst

Anhang
Hugo Ball Preis

Adrian Notz
Das siebte Jahr im Cabaret Voltaire

Rezensionen
Hugo Ball: Byzantinisches Christentum / hrsg. von Bern Wacker (Gabriele Guerra)

Hugo Ball. Der magische Bischof der Avanbtgarde / hrsg. von Michael Braun (Thomas Keith)

Robert Hodonyi: Herwarth Waldens »Sturm« und die Architektur. Eine Analyse zur Konvergenz der Künste in der Berliner Moderne (Robert Krause)

Zenit, Svetokret, Dada tank, Dada Jok and Dada Jazz

Zenit, Svetokret, Dada tank, Dada Jok and Dada Jazz
The Complete Reprint of the avant-garde magazines first published in
Zagreb and Belgrade 1921-1926. It is a limited edition of 320 copies, with all the copies numbered.

The reprint consists of a total of 42 volumes and foreword including data about the edition and an Introduction in English.

All the issues of the journal Zenit (1-43) have been reprinted, in 36 volumes as well as the Zenithist Manifesto, the journals Svetokret, Dada Tank (uncensored edition), Dada Tank 2nd edition (censored), Dada Jok, Dada Jazz and the manifesto Nemo propheta in patria.

The edition faithfully reproduces the journal from the time of its publication in the 1920s.

For more information see the online flyer.

50th anniversary : Fluxus at Rutgers

at/around/beyond: Fluxus at Rutgers
September 24, 2011 - April 01, 2012
Jane Voorhees Zimmerli Art Museum
Rutgers, The State University of New Jersey
71 Hamilton St., New Brunswick, NJ 08901
Tel 732.932.7237, ext. 659
Fax 732.932.8201
www.zimmerlimuseum.rutgers.edu

The spirit of Fluxus imbues Art After Hours on Wednesday, November 2, at the Zimmerli Art Museum at Rutgers. An exhibition tour, Flux Concert, and chess tournament spotlight at/around/beyond: Fluxus at Rutgers, which celebrates the 50th anniversary of this radical international art movement that has historic ties to the university. Art After Hours is the popular eclectic evening series held on the first Wednesday of the month from 5 to 9 p.m. at the Zimmerli. Admission is $6 for adults, $5 for adults over 65, and free for museum members, as well as Rutgers students, faculty and staff (with ID), and children under 18.

As a prelude to the concert, a tour of at/around/beyond: Fluxus at Rutgers begins at 5:30 p.m. More than 60 sculptural objects, games, photographs, assemblages, ephemera, books, and films are assembled from the museum’s permanent holdings and private collections. Long associated with the movement, artist Larry Miller conducts a Flux Concert at 6:30 p.m. Miller first became involved with Fluxus during his student days at Rutgers University, where he received his M.F.A. in 1970, before moving to New York City to establish a career as an installation and performance artist. The Flux Concert is free with admission, but reservations are required at 732.932.7237, ext. 615. The Zimmerli Student Advisory Board (ZSAB) hosts a chess tournament beginning at 4 p.m. Players have the unique opportunity to play Miller’s Fruit and Vegetable Chess. Finalists face off following the Flux Concert. To participate, contact ZSAB at ZimmerliStudentBoard@gmail.com.

“Fluxus has been described as an attitude, a way of experiencing the world, and as a laboratory of ideas,” notes Donna Gustafson, Andrew W. Mellon Liaison for Academic Programs and Curator. “Interaction was so integral to Fluxus attitudes towards life and art that the display of objects alone can’t completely convey the spirit of the movement.” This philosophy inspired Gustafson and Gerry Beegan, who teaches design at Mason Gross School of the Arts, to develop the Byrne Family First-Year Seminar, Artists, Musicians, and Poets in the Museum. A contingent of the students from the course is scheduled to perform with Miller.

Visitors to Fluxus at Rutgers also have the opportunity to interact with several Fluxus games during Art After Hours. Larry Miller’s Fruit and Vegetable Chess features fresh produce pieces, while Sound Chess by Mieko Shiomi (reconstructed by C. Greg Hagerty) has identical wooden chess pieces, requiring players to distinguish the hierarchy by shaking them to hear the rattles inside. Fluxus Balance, another game by Shiomi, allows visitors to conceptually weigh words and ideas on a tiny scale, and Ay-O’s Finger Boxes allows brave souls to insert their fingers into the mysterious holes of five small wooden boxes.

The exhibition has been organized by Donna Gustafson, Andrew W. Mellon Liaison for Academic Programs and Curator, and Eveline Baseggio Omiccioli, Ph.D. candidate in the Department of Art History and Zimmerli Graduate Assistant, with the assistance of Heather Cammarata-Seale, MA Candidate in the Department of Art History, and Dodum Chun, Museum Interns.
at/around/beyond: Fluxus at Rutgers is on view through April 1, 2012. Support for the exhibition and related programs has been provided by an endowment established by the Andrew W. Mellon Foundation, Class of 1937 Publication Fund, and the Dorothy Dehner Foundation for the Visual Arts.

George Maciunas

Gift Box for Jerold Ordover: Spell Your Name With These Objects, ca. 1970

Assorted objects in leatherette and velvet-lined box

Collection Zimmerli Art Museum at Rutgers
Museum Purchase, Class of 1921 Acquisition Fund
Photo Peter Jacobs

Publication: G: An Avant-Garde Journal

G: An Avant-Garde Journal of Art, Architecture, Design, and Film, 1923-1926
Edited by Detlef Mertins and Michael W. Jennings
Getty Research Institute : 2010
280 pages; 22 color and 134 b/w illustrations
ISBN 978-1-60606-039-1.

First published in 1923, the journal G: Material zur Elementaren Gestaltung (G: Materials for Elemental Form-Creation) helped shape a new phase in the history of the European avant-garde. Founded by Hans Richter, a pioneer of abstract animated film, G featured works by some of the important names in the advanced cultures of Europe: Hans Arp, Walter Benjamin, Theo van Doesburg, Viking Eggeling, Naum Gabo, Werner Graeff, George Grosz, Hugo Häring, Raoul Hausmann, Ludwig Hilberseimer, Frederick Kiesler, El Lissitzky, Ludwig Mies van der Rohe, Antoine Pevsner, Man Ray, and Tristan Tzara.

This edition, the first in English translation, preserves the original design by Lissitzky, Richter, and Graeff, and includes essays that explore the role of the journal in its time and in relation to contemporary culture. An introduction analyzes the principles of the journal, situates it in the culture of the early 1920s, and evaluates its achievements.

This book is structured into two parts: first, a series of essays which provide analysis on the major areas of visual culture explored in G and second, the translated-to-English facsimile of the journal itself. With an overview which situates G and its major contributors in historical context begins the essay portion of the book. Other essays follow, one on each subject in the book’s title: Maria Gough on El Lissitzky’s contributions to G’s graphic design; subsequent essays by Edward Dimendberg on film, and Detlef Mertins on architecture, are also well-researched and informative.

In the second part of the book, a carefully constructed facsimile of G is presented, that is true to original documents held in the Museum of Modern Art, except the German text was translated into English.