I had a difficult time
distinguishing between discussions of the Dada movement and the Surrealist
movement in chapter 4. A significant portion of the chapter seemed to focus on
the Dada movement, which in essence, appeared as a continuation of chapter 3. Early
in the chapter, Apollinaire is mentioned and ideas of surrealism are brought up
but there is immediately a shift back to Dadaism. It’s not until the
introduction of the Bureau of Surrealist Research, that Goldberg began to
discuss Surrealism in depth and it’s relation to and disconnect from the Dada
movement. Page 89 gave more detailed information regarding definitive
discussion of differences between the movements but I don’t completely
understand the similarities and differences or why the author chose to place so
much emphasis on the Dada movement in a chapter titled Surrealism.
Another misunderstanding that I had
was why there was so much animosity between the Dada movement and the
Surrealist movement and even within the movements themselves. I understand that
the movements had differences regarding conceptual beliefs and beliefs about
how art should be performed; however, I don’t understand why the Surrealist
felt the need for the Dadaist to accept that their movement was dead. (p 88) It
appears that the Dada movement, particularly Tzara was beginning to fail and
fall apart, yet rather than accept failure, Tzara and other Dada artist
attempted to reinvent themselves and the movement. Artists such a Breton
attempted leave the Dada movement because of their disagreements with the artistic
direction in which Dada was going, as well as their participation in failed
performances. There was discussion regarding these issues but I had a difficult
time understanding the arguments and what specific tactics were used to legitimizes
Tzara’s, Breton’s, and Picabia’s decisions regarding the Dada movement.
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