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B Aroness Elsa Aroness gammelrevised 5/30/02 1:58 PM Page 1 “An impressively researched biography about the most startling Dada woman personality ever to explode on the avant-garde scene in New York,Philadelphia, Berlin,and Paris, this book offers a new and invaluable perspective on several sides of that scene.The strong odor “This book is a true discovery.To find the of scandal, far removed from many watered- outer limits of avant-garde performance,we down emulations of it, permeates every page. need not look forward,but back,for when it Crossing every erotic boundary,this Dada- comes to boundary breaking and gender gothic phenomenon called the Baroness Elsa http://mitpress.mit.edu crossing,today’s artists can find no more dar- “As a language and performance artist, I have von Freytag-Loringhoven lived the heart- ing example than the long lost Baroness Elsa. the highest respect for the early avant-garde breaking existence of a woman more than on Thanks to Irene Gammel’s own unprecedent- and for Dada artists. In Gammel’s biography, the edge.” ed study,she is back.” the Baroness emerges as a truly groundbreak- Mary Ann Caws, Distinguished Professor of Marina Abramovic, artist, Academy of ing force.” English, French, and Comparative Literature, Fine Arts, Braunschweig Yoko Ono Graduate School, City University of New York 02142 “Irene Gammel’s Baroness Elsa is a thorough “Gammel successfully revivifies the life and “With perfect aim,Gammel lobs the Baroness and measured rendition of a life that was any- work of this maverick feminist, who wrote Elsa like a hand grenade back into the melee thing but thorough and measured,and it bears evocative experimental poetry, constructed B over the nature and duration of the avant- witness not only to the trials and triumphs of vibrant assemblage art, and enacted herself garde legacy.” Massachusetts a major woman artist but also to a truism that dramatically throughout the streets and salons aroness Marisa Januzzi Thomas, Institute for never ceases to astound:that one small shift in of New York in the WWI period. She con- Research on Women and Gender, Columbia historical perspective can yield a completely vincingly demonstrates the Baroness’s impact University different (and much more interesting) story as an original artist, poet, and performer of than the one we have always been told.” Dada.This book is a must for all scholars of Shelley Rice, author of Parisian Views literary modernism and the Dada movement, B and editor of Inverted Odysseys: Maya Deren, but is also terrifically entertaining to read.” aroness CAMBRIDGE, Claude Cahun, Cindy Sherman Amelia Jones, Professor, Department of Art History, University of California, Riverside Elsa Elsa “In histories of early twentieth-century Euro-American avant-gardism,the Baroness “Scholars of modernism in its intersections Elsa von Freytag-Loringhoven—poet, visual with feminism and anticipations of post- and performance artist—is often considered a modernism have long been fascinated by the Technology freakish,eccentric,though fascinating person- idiosyncratic Baroness Elsa—body artist, B aroness of ality on its margins. With Irene Gammel’s multi-lingual poet, and tragic advocate for meticulously researched and engaging biogra- artistic and sexual freedom. Irene Gammel has GENDER, Book and jacket design: Jean Wilcox phy,the Baroness finally takes her rightful written the book that we were waiting for: its Dada, Elsa Institute and Cover photograph: International News Photography (INP), place in the avant-garde’s core.” exhaustive research, rich detail, and wide- Everyday Irene Modernity 1915. © 2002 Bettman/Corbis/Magma Naomi Sawelson-Gorse, editor of Women ranging cultural critique place the Baroness in Gammel A in Dada the company of her peers while honoring her Cultural Elsa von Freytag-Loringhoven (1874–1927)Biography is considered Elsa von Freytag-Loringhoven, uniqueness.” by many to be the first American dadaist as well as the “Baroness Elsa presents a fascinating frame- Carolyn Burke, author of Becoming Modern: GENDER, mother of dada.An innovator in poetic form and an early work for Elsa von Freytag-Loringhoven’s The Life of Mina Loy and of a forthcoming biog- Massachusetts Dada, participation in the constellations of interna- raphy of Lee Miller and creator of junk sculpture,“the Baroness” was best known tional Dada.Gammel’s cultural biography sus- Everyday for her sexually charged, often controversial performances. tains the suspense of a mystery tale,revealing Gammel Modernity Some thought her merely crazed, others thought her a unexpected influences and conceptual inter- genius.The editor Margaret Anderson called her “perhaps HE MIT PRESS change between major artists.” ,!7IA2G2-ahcdbb!:t;K;k;K;k the only figure of our generation who deserves the epithet T Carolee Schneemann, visual artist, author of extraordinary.”Yet despite her great notoriety and influ- Imaging Her Erotics: Essays, Interviews, Projects 0-262-07231-9 A Cultural ence, until recently her story and work have been little Biography known outside the circle of modernist scholars. In Baroness Elsa, life and work of this daring woman, viewing her in the Irene Gammel traces the extraordinary context of female dada and the historical battles fought by women in the early twentieth century. Striding through the streets of Berlin, Munich, New York,and Paris wearing Irene such adornments as a tomato can bra, teaspoon earrings, Gammel and black lipstick, the Baroness erased the boundaries between life and art, between the everyday and the outra- geous, between the creative and the dangerous. Her art objects were precursors to dada objects of the teens and twenties, her sound and visual poetry were far more daring than those of the male modernists of her time, and her per- formances prefigured feminist body art and performance art by nearly half a century. Irene Gammel is Professor of English at the University of Prince Edward Island. B aronessElsa B aronessElsa The MIT Press Cambridge, Massachusetts London, Enlgnad GENDER, Dada, and Everyday Modernity A Cultural Biography Irene G ammel Frontispiece Theresa Bernstein, Elsa von Freytag-Loringhoven, ca. 1917. Oil. 12 × 9 in. Francis M. Naumann Collection, New York. First MIT Press paperback edition, 2003 © 2002 Massachusetts Institute of Technology All rights reserved. No part of this book may be reproduced in any form by any electronic or mechanical means (including photocopying, recording, or information storage and retrieval) without permission in writing from the publisher. Quotations and illustrations from Djuna Barnes’s published and unpublished work are reproduced with permission © Copyright, The Authors League Fund, as literary executor of the Estate of Djuna Barnes. Publication of this book has been aided by a grant from the Millard Meiss Publication Fund of the College Art Association. This book was set in Bembo and Future by Graphic Composition, Inc., Athens, Georgia and was printed and bound in the United States of America. Library of Congress Cataloging-in-Publication Data Gammel, Irene Baroness Elsa : gender, dada, and everyday modernity—a cultural bio- graphy / Irene Gammel. p. cm. Includes bibliographical references and index. ISBN 0-262-07231-9 (hc. : alk. paper), 0-262-57215-X (pb) 1. Freytag-Loringhoven, Elsa von, 1874–1927. 2. Artists—New York—Germany— Biography. I. Title. NX550.Z9 .F7374 2002 700'92—dc21 [B] 2001054629 1098765432 Contents Acknowledgments x Chronology xv Abbreviations and Archival Information xxiii Introduction 3 Part I: THE PSYCHOGENESIS of a Dada personality Chapter1: “My Father’s House” 20 Part II: SEXUAL Modernitiesin Berlin and MUNICH Chapter2: Sexcapades in Berlin 56 Chapter3: The New Woman and the Stefan George Circle 72 Chapter4: Munich’s Dionysian Avant-Garde in 1900 98 Chapter5: Felix Paul Greve: Elsa’s Sex-Sun 122 Part III: New YORK Dada Chapter6: Strip/Teasing the Bride of New York 158 Chapter7: Living Dada with Phallus in Hand and Taillight on Bustle 182 Chapter8: A Citizen of Terror in Wartime 206 Chapter9: The Little Review and its Dada Fuse, 1918 to 1921 238 Chapter10: The Poetic Feud of William Carlos Williams, Ezra Pound, and the Baroness 262 Chapter11: A Farewell to New York 286 Part IV: Berlin and PARIS Dada Chapter12: Berlin Exile 316 Chapter13: Courting Djuna Barnes 338 Chapter14: The Baroness’s Last Dada Dance in Paris 362 Afterword by Gisela Baronin Freytag v. Loringhoven 390 Notes 396 Bibliography 490 Index 523 Acknowledgments My journey into the life and work of the Baroness began in 1990, when I first encountered the unusual Baroness through my schol- arly work on her spouse, Frederick Philip Grove (a.k.a Felix Paul Greve). As a scholar of modernist literature and culture, I was cap- tivated by the Baroness’s unconventional story and radical crossing of gender and sexual boundaries. Little did I know then that this journey would take me to Berlin, New York, Paris, Munich, Tübingen, College Park, Winnipeg, Greifswald, Anklam, Ebers- walde, and S´winoujs´cie. When I published my first article on the topic in The Canadian Review of American Studies in 1991, I turned my attention to Berlin and New York as theatrical cities, arenas for enacting modern identities, a foundation for this biography. I sub- sequently explored the Baroness among Germany’s avant-garde circles (1993), exposing the complex dynamics through which her sexual life story was consistently appropriated by others (1995, 1999). With the benefit of early articles, the published autobiogra- phy (1992), and pioneering studies on New York dada (1994, 1996, 1998), I was able to develop what would become an important thrust in the biography. Far from being derivative, I proposed, the Baroness was a source of inspiration for others. Thus the kernel for the biography was born. The art historian Francis M. Naumann had asked me to consider writing a biography on the Baroness in 1995—one year be- fore the Making Mischief exhibition in New York, an exhibition that provided a crescendo moment in that it featured the Baroness’s work, along with new scholarship on the artist.
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