Sophie Taeuber-Arp: An Introduction
Read an excerpt from the exhibition catalogue, about how this major artist's vibrant and varied work opens up the history of modern art.
Anne Umland, Walburga Krupp
Dec 2, 2021
Sophie Taeuber-Arp: Living Abstraction, organized by Anne Umland, the Blanchette Hooker Rockefeller Senior Curator of Painting and Sculpture, The Museum of Modern Art; Walburga Krupp, independent curator; Eva Reifert, Curator, Nineteenth-Century and Modern Art, Kunstmuseum Basel; and Natalia Sidlina, Curator, International Art, Tate Modern; with Laura Braverman, Curatorial Assistant, Department of Painting and Sculpture, The Museum of Modern Art, is on view at MoMA through March 12, 2022.
 Sophie Taeuber-Arp, “Remarks on Instruction in Ornamental Design” (1922), in Sophie Taeuber-Arp: Avant-Garde Pathways, ed. Estrella de Diego (Málaga, Spain: Museo Picasso Málaga, 2009), 162
 Hugo Weber, “Commentaire du catalogue de l’œuvre de Sophie Taeuber-Arp,” in Sophie Taeuber-Arp, ed. Georg Schmidt (Basel: Holbein, 1948), 125.
 In the essays that follow, to avoid confusion and the repeated use of Jean (Hans), Taeuber-Arp’s husband is referred to simply as “Arp.” Generally speaking, in German contexts he was Hans, in French contexts Jean. See Catherine Craft, “The Nature(s) of Arp,” in The Nature of Arp, ed. Craft (Dallas, Tex.: Nasher Sculpture Center, 2018), 4, 42n8.
 Schmidt, Sophie Taeuber-Arp (see note 2). The catalogue raisonné was compiled by Arp with the help of the Basel artist Hugo Weber.
 Sophie Taeuber-Arp was on view at the Kunstmuseum Bern, March 6–April 19, 1954, and at the Kunstmuseum St. Gallen, Switzerland, April 24–May 23, 1954.
 Sophie Taeuber-Arp was on view at the Kunstmuseum Winterthur, Switzerland, January 23–March 6, 1977, and, in an expanded version, at the Musée d’Art Moderne, Strasbourg, France, March 26–June 12, 1977.
 This proposal is dated January 7, 1977. The Museum of Modern Art Exhibition Records, 1319.13, The Museum of Modern Art Archives, New York.
 Carolyn Lanchner, ed., Sophie Taeuber-Arp (New York: The Museum of Modern Art, 1981).
 Leah Dickerman, ed., Dada: Zurich, Berlin, Hannover, Cologne, New York, Paris (Washington, DC: National Gallery of Art, 2005); Leah Dickerman, ed., Inventing Abstraction, 1910–1925: How a Radical Idea Changed Modern Art (New York: The Museum of Modern Art, 2012). Umland was coordinating curator for The Museum of Modern Art’s presentation of the Dada exhibition, which was also shown at the Centre Pompidou, Paris, and the National Gallery of Art, Washington, DC.
 See Annie Wilker’s contribution to this volume, pp. 298–303, and the checklist of the exhibition, pp. 314–39.
 The primary repository of Taeuber-Arp’s correspondence is the Zentralbibliothek Zürich; a three-volume annotated edition of the correspondence edited by Medea Hoch, Walburga Krupp, and Sigrid Schade is due to appear in 2021. Lifetime photographs of Taeuber-Arp’s works are primarily to be found at the Fondation Arp, Clamart, France, and the Stiftung Arp e.V., Berlin.
 The term duo-dessin appeared in print for the first time in Jean Arp, Le siège de l’air: Poèmes 1915–1945; Avec huit duo-dessins par Arp et Taeuber-Arp (Paris: Vrille, 1946). Duo-Collage appeared in print for the first time in the 1948 catalogue raisonné. Schmidt, Sophie Taeuber-Arp, 21–22.
 Regarding Arp’s post–World War II “re-creations” of Taeuber-Arp’s works, see Sandor Kuthy, “‘Nachschöpfungen,’” in Sophie Taeuber–Hans Arp: Künstlerpaare–Künstlerfreunde, ed. Kuthy (Bern: Kunstmuseum Bern, 1988), 178–86.
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