Sunday, August 23, 2020

Sophie Taeuber-Arp

Quadrangular Spot Composition, gouache on paper, 1920

Here's an item lifted directly from The New Yorker, August 3 & 10 edition:

Sophie Taeuber-Arp 

Recent reconfigurations of modern art history are finally bringing the essential contributions of women artists into the light. Although certain figures – such as the Swedish painter Hilma af Klint – did work outside of established avant-garde circles, other pathbreakers, such as Taeuber-Arp, have been hidden in plain sight. The Swiss polymath's marriage to her fellow Dadaist Hans Arp may have secured her initial entry to that fervid scene, but her collaborative spirit – she worked with Arp, among other male artists – likely denied her top billing until now. An online viewing room, on Hauser & Wirth's Web site, celebrates the gallery's representation of Taeuber-Arp's estate with images of her dynamic Constructivist tapestries and paintings, geometric costumes and marionettes designed for performances at Zurich's legendary Cabaret Voltaire night club, sinuous carved sculptures, and more. A brief documentary overview of her career offers memorable glimpses of the artist's interior-design work, including the painted walls of Strasbourg's Café de l'Aubette and a Bauhaus-inspired studio-residence outside Paris, where she gathered with friends (Sonia and Robert Delaunay, Joan Miró, and Marcel Duchamp among them). Next year's Taeuber-Arp retrospective, co-organized by MOMA, the Kunstmuseum Basel, and the Tate Modern, can't arrive soon enough.

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