The Art of Living in Avant-Garde Paris
Ethics and Self-Making in Dada, Simultanism, and Surrealism
9780226846934
9780226846965
The Art of Living in Avant-Garde Paris
Ethics and Self-Making in Dada, Simultanism, and Surrealism
How artists of interwar Paris created an “art of living,” treating their daily lives as an aesthetic, ethical, and creative practice.
With The Art of Living in Avant-Garde Paris, Rachel Silveri takes a fresh look at the desire to unify art and life, an ambition long regarded as foundational to the European historical avant-gardes. She reveals how many early twentieth-century artists saw their own everyday lives—their bodies, identities, and relationships—as a type of creative material and a central component to their avant-garde practice. These artists abandoned traditional forms of artmaking and venues of art viewing, instead aspiring to integrate art with everyday life, creating an “art of living.”
Considering Tristan Tzara’s performances of Dadaist identity, Sonia Delaunay’s simultaneous fashions and self-branding, and the collective endeavor to open and operate the Surrealist Research Bureau, Silveri offers a new narrative about how the artists of interwar Paris developed experiential life practices that resisted dominant forms of “lifestyle” and normative discourses surrounding gender, ethnicity, and office work. This book argues that ethical questions of “How should I live?” and “How should I relate to others?” were as important to the avant-garde as politics, and that aspirations to change the world played out in daily practices of self-making.
With The Art of Living in Avant-Garde Paris, Rachel Silveri takes a fresh look at the desire to unify art and life, an ambition long regarded as foundational to the European historical avant-gardes. She reveals how many early twentieth-century artists saw their own everyday lives—their bodies, identities, and relationships—as a type of creative material and a central component to their avant-garde practice. These artists abandoned traditional forms of artmaking and venues of art viewing, instead aspiring to integrate art with everyday life, creating an “art of living.”
Considering Tristan Tzara’s performances of Dadaist identity, Sonia Delaunay’s simultaneous fashions and self-branding, and the collective endeavor to open and operate the Surrealist Research Bureau, Silveri offers a new narrative about how the artists of interwar Paris developed experiential life practices that resisted dominant forms of “lifestyle” and normative discourses surrounding gender, ethnicity, and office work. This book argues that ethical questions of “How should I live?” and “How should I relate to others?” were as important to the avant-garde as politics, and that aspirations to change the world played out in daily practices of self-making.
