Dawn Adès Bücher

This survey provides an in-depth study of the relationship of art and power in what has been called the "Europe of the Dictators", between 1930 and 1945 - published as the catalogue for a major exhibition at the Hayward Gallery which opened in late 1995. In Hitler's Germany, Stalin's USSR and Mussolini's Italy, art was used to reinforce the strength of the political rulers, to shape and influence, to celebrate and demonstrate the seductive nature of power. But despite the ambitious architectural projects and public monuments, the grand portraits and gigantic sculptures, artistic freedom was restricted under these regimes. Art movements that had flourished pre-1930 were suppressed, and efforts were channelled into new, populist forms that expressed the ideals of the state. With over 450 illustrated examples, ranging from painting and sculpture to large-scale architecture, from cinema and photography to literature, this volume examines in essays, by some of today's leading art historians, the often uneasy relationship between art and power. Including biographies of all the artists and architects, an illustrated chronology, and extracts from contemporary reviews and journals, this text should be a valuable resource for students and art historians, and an important study for anyone interested in the history of the period. An afterword is included by Neal ascherson.

"Can’t the dream be used in solving the fundamental problems of life?" asked André Breton, in the First Surrealist Manifesto . For the Surrealists, dreams were the ultimate site of possibility, the realm in which the artist and writer might be liberated from his or her rationality, moral judgment and taste. This beautifully designed volume offers, for the first time, a thorough account of the centrality of dreams to the Surrealist project. It includes paintings, drawings, collages, sculptures and photographs by Jean Arp, Brassaï, Victor Brauner, André Breton, Claude Cahun, Leonora Carrington, Salvador Dalí, Paul Delvaux, Max Ernst, René Magritte, André Masson, Dora Maar, Paul Nougé, Karel Teige and Yves Tanguy, among others. A special section on "Those Who Paved the Way (of Dreams)" includes works by J.J. Grandville, Odilon Redon and Henri Rousseau. Critical texts by Dawn Ades and Geroges Sebbag examine the history and philosophy of dreams within the Surrealist movement.

The most comprehensive survey of Cornell's work with detailed biography. --alibris.comEssays originally published on the occasion of the exhibition Joseph Cornell, November 17, 1980 - January 20, 1981, The Museum of Modern Art, New York.

Genius. Anti-artist. Charlatan. Impostor! Since 1914 Marcel Duchamp has been called all of these. No artist of the 20th century has aroused more passion and controversy, nor exerted a greater influence on art, the very nature of which Duchamp challenged and redefined as concept rather than product by questioning its traditionally privileged optical nature. At the same time, he never ceased to be engaged, openly or secretly, in provocative activities and works that transformed traditional artmaking procedures. Written with the enthusiastic support of Duchamp's widow, this is one of the most original and important books ever written on this enigmatic artist, and challenges received ideas, misunderstanding and misinformation

Art historian and curator Dawn Ades is a leading voice on Dada, Surrealism, abstraction and art from Latin America. This volume collects her important essays for the first time, addressing themes fundamental to the history of modern art and the avant-garde.Arranged thematically, this collection of essays represents the breadth of Dawn Ades’s critical and curatorial interests, ranging from avant-garde poster design to the representation of the female in Mexico, but with an overarching foundation in abstraction, identity and the influence of new media.As well as working as a professor and curator – which earned her an OBE for her services to art history – Ades has written on a wide range of artists since 1980. Spanning the likes of Francis Bacon, Richard Deacon, Salvador Dalí and Hannah Höch, this body of essays is ingrained with Ades’s consistently clear and intellectually stimulating observations.To introduce the book, Ades is interviewed by Doro Globus who explores the writer’s relationship to curating, teaching and art history.

Picasso nannte Dalí „einen Außenbordmotor, der ständig läuft“. Dalí selbst hielt sich für ein Genie, das sich jedem Wahnsinn hingeben durfte, der ihm in den Sinn kam. Salvador Dalí (1904-1989) war Maler, Bildhauer, Schriftsteller und Filmemacher; er war einer der größten Exhibitionisten und Exzentriker des 20. Jahrhunderts – und wo immer er auftauchte, sorgte er für heftige Kontroversen. Er war einer der Ersten, der die Psychoanalyse Sigmund Freuds auf die Malerei übertrug und näherte sich dem Unterbewusstsein mit äußerster Sensibilität und Vorstellungskraft. Diese Monographie stellt den Surrealisten in all seinen Farben, mit seinen eigenen Worten und seinen berühmten Gemälden wie den zerrinnenden Uhren vor. Autor Robert Descharnes war mehr als dreißig Jahre lang mit Dalí befreundet und genoss das Privileg, hinter dessen öffentliche Fassade blicken zu dürfen. Er war wie kein anderer für dieses Buch prädestiniert – und analysiert gleichermaßen den Menschen wie den Mythos.

Published to accompany an exhibition held at Tate Modern, London, 1 June - 9 September 2007, Los Angeles County Museum of Art, Los Angeles, 14 October 2007 - 6 January 2008, Salvador Dali Museum, St Petersburg, Florida, 1 February - 1 June 2008, The Museum of Modern Art, New York, 29 June - 15 September 2008

In a tumultuous year marked by personal and global challenges, Paul Klee produced some of his most innovative art before his death in 1940. This book explores his inventive works from 1939, showcasing a variety of media that create visually striking and tactile surfaces. Klee's drawings serve as meditative reflections on life's complexities, with titles revealing his inner struggles. Art historian Dawn Ades contextualizes these pieces within their historical significance, while artist Richard Tuttle responds creatively, highlighting Klee's lasting influence on post-war artists.

One hundred seventy-one monochromes are reproduced in an overview of the nature and evolution of photomontage