"Examining major works in the light of recent critical and theoretical perspectives, this book also considers the extent to which Arp's resistance to single, reductive interpretations may be linked to his bilingual, bicultural upbringing in Alsace and his experience of two world wars."--BOOK JACKET.

One girl, one painting a day...can she do it? Linda Patricia Cleary decided to challenge herself with a year long project starting on January 1, 2014. Choose an artist a day and create a piece in tribute to them. It was a fun, challenging, stressful and psychological experience. She learned about technique, art history, different materials and embracing failure. Here are all 365 pieces. Enjoy!

A select anthology of the Dada movement focusing mainly on visual artists features prose, poetry, and polemics from such notables as Marcel Duchamp, Max Ernst, Tristan Tzara, Hanna Hèoch, George Grosz, and Jean Cocteau.

The concluding volume to the first biography of one of the most important, influential, and beloved twentieth-century sculptors, and one of the greatest artists in the cultural history of America--is a vividly written, illuminating account of his triumphant later years. The second and final volume of this magnificent biography begins during World War II, when Calder--known to all as Sandy--and his wife, Louisa, opened their home to a stream of artists and writers in exile from Europe. In the postwar decades, they divided their time between the United States and France, as Calder made his first monumental public sculptures and received blockbuster commissions that included Expo '67 in Montreal and the 1968 Olympics in Mexico City. Jed Perl makes clear how Calder's radical sculptural imagination shaped the minimalist and kinetic art movements that emerged in the 1960s. And we see, as well, that through everything--their ever-expanding friendships with artists and writers of all stripes; working to end the war in Vietnam; hosting riotous dance parties at their Connecticut home; seeing the "mobile," Calder's essential artistic invention, find its way into Webster's dictionary--Calder and Louisa remained the risk-taking, singularly bohemian couple they had been since first meeting at the end of the Roaring Twenties. The biography ends with Calder's death in 1976 at the age of seventy-eight--only weeks after an encyclopedic retrospective of his work opened at the Whitney Museum in New York--but leaves us with a new, clearer understanding of his legacy, both as an artist and a man.

Affinities and contrasts in the work of two icons of modern sculpture In terms of modern sculpture, there are few artists who can claim the same level of influence as Auguste Rodin (1840-1917) and Hans "Jean" Arp (1886-1966). Rodin's naturalistic rather than decorative approach to sculpture revolutionized the field in the late 19th century, while Arp prompted another wave of experimentation in the early 1900s with his abstract sculpture. In this volume, the oeuvres of both pioneers are placed in conversation with one another to demonstrate their artistic affinities as well as their creative contrasts. As Rodin moved away from the preeminent trends of mythological allegory in order to focus on the organic elegance of the human figure, he eventually approached an Impressionistic style. Arp, as an early member of the Dadaist movement, reinterpreted many of the trends brought forth by Rodin, emphasizing abstraction as a means for conveying pathos. This publication allows readers to appreciate the evolution of both artists individually and in the context of art history as a whole: as sculptural milestones, the creations of Rodin and Arp provide a vivid illustration of fundamental developments in modern sculpture stylistically and ideologically. Curator Raphaël Bouvier provides textual insight along with several other acclaimed art scholars, including Catherine Chevillot, Director of the Musée Rodin.

Hans Arp (b. Strasbourg, 1886; d. Basel, 1966) is a familiar figure of classical modernism and was a key contributor to the development of Dada and Surrealism in the early twentieth century, yet it was during the decades that followed that he articulated the forms to which he would persistently return.