{"id":22734,"date":"2016-07-05T09:06:17","date_gmt":"2016-07-05T13:06:17","guid":{"rendered":"http:\/\/www.artsjournal.com\/herman\/?p=22734"},"modified":"2016-07-07T09:27:52","modified_gmt":"2016-07-07T13:27:52","slug":"dadaglobe-show-vs-catalogue","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/herman\/2016\/07\/dadaglobe-show-vs-catalogue.html","title":{"rendered":"‘Dadaglobe’: Art for Dada’s Sake"},"content":{"rendered":"

Although “Dadaglobe Reconstructed”<\/a> at MoMA is a magnificent project of deep-dive reclamation, the catalogue that recreates Tristan Tzara’s never-realized Dadaglobe<\/em> anthology also recreates the limitations of Tzara’s original concept. The catalogue is printed as he would have done it — in black and white. I prefer seeing the works submitted to him in their original form. Francis Picabia’s “Pharmarcie Duchamp$,” for example . . .
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Duchamp’s Pharmacy (Pharmarcie Duchamp$) [ink and gouche on paper] by Francis Picabia
Submitted by Picabia by early January 1921<\/em><\/font><\/font><\/p><\/div><\/p>\n

. . . or Sophie Taeuber’s “Dada Composition (Flat Head \/ t\u00eate au plat).”<\/center>
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Dada Composition (Flat Head \/ t\u00eate au plat) by Sophie Taeuber
(Fresco from the Zurich Dada Pantheon) [Oil on canvas], 1920<\/em><\/p><\/div><\/p>\n

As the curators point out, a number of contributors to the anthology took the limitations into account and sent works to accomodate black-and-white reproduction. Moreover, Tzara liked the idea that Dadaglobe<\/em> was itself a transformative expression of the works. Nevertheless, give me the originals. <\/p>\n

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Partial view of the ‘Dadaglobe Reconstructed’ exhibition at MoMA. [Photo: Courtesy Museum of Modern Art]<\/font><\/p><\/div>
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Another advantage of the show is that you can take your own photos and examine enlargements:<\/center><\/p>\n

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‘Dada Picture’ by George Grosz [cut-and-pasted printed papers]<\/p><\/div><\/a> And here’s another reason: The show puts on view works submitted to Tzara that he chose not to include in Dadaglobe,<\/em> as well as works submitted elsewhere that he did. One prime example is George Grosz’s “Dada Picture,” originally intended for another unrealized anthology, Dadaco<\/em> (designed by John Heartfield and edited by Tzara’s rival, Richard Huelsenbeck).<\/p>\n

Due to popular command I’ve uploaded seven more photos of the artworks on exhibit. Click on the titles to have a look:<\/p>\n

Photograph by Peter A. Juley: \u2018Portrait Made-to-Measure of Marcel Duchamp\u2019 [gelatin silver print, 1915-17]<\/a><\/p>\n

Raoul Hausmann: \u2018Section of Shit … German\u2019 (\u2018Section de Merde … allemande\u2019) [gelatin silver print on postcard stock, 1921]<\/a><\/p>\n

Otto Griebel: \u2018Man Dies\u2019 (\u2018Stirbt der Mensch\u2019) [cut-and-pasted printed papers and cut-and-pasted gelatin silver print on paper, 1921]<\/a><\/p>\n

Philippe Soupault: \u2018Dada Lifts Everything\u2019 (\u2018Dada soul\u00e8ve tout\u2019) [ink on printed paper, c. 1921]<\/a><\/p>\n

Kurt Schwitters: \u2018Lahti\u2019 [cut-and-pasted printed papers on paper, 1920]<\/a><\/p>\n

Francis Picabia: \u2018untitled signature\u2019<\/a><\/p>\n

Marcel Duchamp \u2018Bride (Mari\u00e9e)\u2019 [oil on canvas, 1912]<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

Although “Dadaglobe Reconstructed” at MoMA is a magnificent project of deep-dive reclamation, the catalogue that recreates Tristan Tzara’s never-realized Dadaglobe anthology also recreates the limitations of Tzara’s original concept. The catalogue is printed as he would have done it — in black and white. I prefer seeing the works submitted to him in their original […]<\/p>\n","protected":false},"author":3,"featured_media":22718,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[19,18,20,17],"tags":[],"class_list":{"0":"post-22734","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-art","8":"category-literature","9":"category-media","10":"category-political-culture","11":"entry"},"jetpack_publicize_connections":[],"jetpack_featured_media_url":"https:\/\/www.artsjournal.com\/herman\/wp\/wp-content\/uploads\/2016\/07\/pharmacie-duchamp-fullcropped-560.jpg","jetpack_shortlink":"https:\/\/wp.me\/pbvgEs-5UG","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/posts\/22734","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/comments?post=22734"}],"version-history":[{"count":5,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/posts\/22734\/revisions"}],"predecessor-version":[{"id":22907,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/posts\/22734\/revisions\/22907"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/media\/22718"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/media?parent=22734"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/categories?post=22734"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/tags?post=22734"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}