turner contemporary presents arp: the poetry of … arp teacher... · arp: the poetry of forms...

Arp:The Poetry of Forms

Turner Contemporary presents

Fri 13 Oct 2017 - Sun 14 Jan 2018

Teachers and Groups Resource 2

Contents

Introduction

Schools, Colleges and Groups welcomeInspire your pupils across the curriculumHow to use this resource Looking at the workAbout the exhibition About the artist

Dada

Chance Creations

Surrealism

Nature

Tracey Emin ‘My Bed’/JMW TUrner

Contents

Key Words

Curriculum Links

Further Research &

Sources of Information

3Teachers and Groups Resource

We often receive feedback from our visitors about how inspiring it is to see children and young people engaging with our exhibitions. These visits contribute greatly to the atmosphere in the galleries, and have helped us grow an international reputation for excellence, not only in the arts, but in Learning and Visitor Experience.

Our team thrives on seeing children and young people talking, debating and drawing (with pencils only!) in the gallery spaces. During your visit, please don’t hesitate to talk to the Gallery Assistants about the exhibitions, or if you need any information and support.

Please be aware Tracey Emin’s My Bed contains explicit content of a sexual nature.

Schools, colleges and groups welcome

We encourage school and group visits, and we love seeing your students learning in the gallery space.

Introduction


Inspire your pupils across the curriculum

The exhibition supports teaching and learning across the curriculum particularly Art, Design, Literacy, History, Drama and Science and offers huge opportunities to inspire pupils across subject areas.

We have included a few links in this resource, but there are many more possibilities and we would be happy to discuss your ideas, and how we can support your visit.

Introduction


How to use this resource

This resource is designed for use by teachers and group leaders to support and enrich your group visit to the exhibition.

As well as providing further information on selected items, the resource explores the exhibition through a range of different themes inspired by it, offering ideas for educational projects and activities.

Underlying themes found within the works include:

shapematerialchancebiomorphism

The activity suggestions target a range of Key Stages and can be adapted for older and younger pupils.

They may form part of a project before, during or after a visit to see the exhibition. Ideas are informed by National Curriculum requirements.

Introduction


Looking

WORK

Introduction

Students may record and analyse their thoughts using sketchbooks and pencils whilst in the gallery.

Turn over for some helpful conversation starters.

AT THE

To encourage students to engage more closely with the works in the gallery, be curious and prompt further research, you may find the following suggestions helpful.


To encourage students to ask questions about the works, be curious and do further research. Question words may also be used such as:

How Why

Introduction

Conversation starters

Ask students to begin a sentence with...

To encourage close observation of different aspects of the work. Challenge students to keep discovering more and more detail.

To encourage their opinions and ideas about the works, using their imagination to answer why and how they were made.

To encourage their emotional responses to the work.

I CAN SEE...

I THINK...

I FEEL...

I WONDER...

When Where

Who What

DISCUSS

8Teachers and Groups Resource Introduction

Conversation starters

Ask students to respond to each other’s statements by ‘agreeing’ or ‘disagreeing’ and making a new statement.

Then practise this task...

DISCUSS


About the exhibition

Introduction

Turner Contemporary is bringing the first exhibition of Jean Arp’s work in a public gallery to the UK since his death in 1966 in collaboration with the Kröller-Müller Museum in The Netherlands.

This landmark exhibition comprises over 70 loans of work, the majority of which have never been on display in the UK. As well as drawings, collages, paintings, wood reliefs and sculptures, the exhibition explores Arp’s poetry, adding a new dimension to his biomorphic sculptures with flashes of the artist’s ingenuity.

Arp’s diverse practice had a poetry and playfulness at its core that is as engaging for audiences today as it was in Arp’s lifetime.

His role in Dada, Surrealism and Abstraction, as well as his impact on the British avant-garde, make him a fascinating artist for modern audiences.

10Teachers and Groups Resource Introduction

Born Hans Peter Wilhelm Arp in Strasbourg on September 16, 1886 during the Franco Prussian War. His mother was French and his father was German and the area they lived in was known as Alsace Lorraine after France gave it up to Germany in 1871. At the end of World War 1 when Alsace returned to France French law determined that Arp’s first name become Jean. Neither fully French nor fully German, the artist referred to himself as “Jean” when speaking French, and “Hans” when speaking German.

Arp lived through both World Wars which shaped his path as an artist. He educated as an artist in France and Germany and travelled all over Europe. Throughout his life

he worked alongside other prolific artists of the 20th century including Wassily Kadinsky, Pablo Picasso and Max Ernst and contributed to major art movements of Dada, Surrealism and Abstract Expressionism.

About the artist

Hans Arp with Navel-Monocle, c.1926


“Revolted by the butchery of the 1914 World War, we in Zurich devoted ourselves to the arts. While guns rumbled in the distance, we sang, painted, made collages and wrote poems with all our might.”

A Nazi open air service in Strasbourg, Arp’s birthplace, during German occupation in 1915.

Introduction

About the artist

Arp was forced to flee his home due to military invasions leading up to World War II. In 1915, he moved to Switzerland to take advantage of Swiss neutrality. Arp later told the story of how, when he was notified to report to the German consulate, he avoided being drafted into the German Army. He took the paperwork he had been given and, in the first blank, wrote the date. He then wrote the date in every other space as well, then drew a line beneath them and carefully added them up. He then took off all his clothes and went to hand in his paperwork.

DadaAn art movement protesting

World War 1


Arp was forced to flee from the brutalities of his hometown as more European countries became involved in World War I. He moved to Zurich in 1916 and helped found the Dada movement.

Dada was created to reflect the horrors and trauma of the war; eight million servicemen and an estimated matching number of civilians were killed. This unprecedented loss of human life was a result of trench warfare and technological advances in weaponry, communication, and transportation systems. Dada artists were disillusioned by the social structures that led to the war: corrupt and nationalistic politics, repressive social values, and conformity of culture and thought. Their aim was to

Dada

destroy traditional values in art and produce ‘anti-art’, a medium for social, political, and artistic protest.

Leading artists associated with Dada include Arp, Marcel Duchamp, Francis Picabia and Kurt Schwitters. Like Arp himself, Dada was international and interdisciplinary.

Dada

World War I

Arp, Dada, ink drawing, 1920.

Dada

DISCUSS


Dada

Come up with your own definitions of what ‘art’ is and what ‘anti-art’ is.

How does art relate to what is happening at any given time? Can you find any artists that deal with today’s current issues in the gallery?

Why was World War I

different from other

wars before?

“to destroy the hoaxes of reason and to discover an unreasoned order.” Arp on Dadaism

How can you use art as a protest or a way to reflect emotions, as Dada did?

RESEARCH

Do you think Dada was an effective means of protest? What is an issue that is important to you today? How would you let people know your point of view?

‘Dada’ is a nonsense word that has different meanings in different languages (“hobbyhorse” in French, “yes, yes” in Slavic languages, and baby-talk in English).

Dada Issue number 3 with 3 of Arp’s woodcut engravings. The journal challenged all the rules and conventions in typography and layout and undermined established notions of order and logic.


During Arp’s time with the Dada he experimented with making images inspired by everyday objects and figures from nature. In 1923 he created a series of seven simple but evocative “object pictures” which he titled after making —Moustache Hat, One Navel, The Sea, Arabic Eight, The Navel Bottle, Moustache, Watch, Eggbeater. Each sign evokes familiar letter or number forms, but cannot be read as such. Instead, they comprise a set of personal symbols he called Arpaden (a word Arp made up to mean “Arp things”).

Dada

Look at the seven Arpaden prints without looking at the titles. What do you see? Do you recognise anything in the image? Is there anything familiar? Give your own title to each work.

Schnurrhut (Moustache Hat)

Das Meer (The Sea)

Ein Nabel (One Navel)

Die Nabelflasche (The Navel bottle)

Schnurruhr (Moustache watch)

Eierschlager (Egg beater)

ArabischeAcht (Arabic Eight)

Dada

Jean Arp, Merz 5, Arp Mappe: 7 Arpaden (Arp Portfolio: 7 Arpades), 1923


Poetry Dada

As well as challenging conventions of the visual arts Arp and other Dada artists tackled word and language through poetry. In the same way they adopted new and unusual making techniques. Could the same be done when dealing with word and language?

To free text and speech from conventional rules of spelling, grammar, and punctuation, Dadaists used puns, wordplay, experimental poetry and literature—some turning words and letters into abstract forms, stripping them of their legibility. These experiments were meant to expose the arbitrary relationship between words and their meanings.

Arp collaborated with fellow Dadaist founder Tristan Tzara and together they produced De nos oiseaux, a book of Tzara’s poems and Arp’s accompanying prints.

Arp and Tristan Tzara, De nos oiseaux, book, 1929

Dada


Tzara gave instructions on how to write a Dada poem. Try following them and make your own Dada poem:

.

1Take a newspaper 3Choose an article

as long as you are planning to

make your poem 4Cut out the article2 5Cut out each

word & put them in a bag

6Shake it 7Next take one out after

the other 8Copy in the order in which

they left the bag. 9The poem will resemble you

Take a pair of scissors

Dada CREATIVE WRITINGPoetry


DRAW

Dada

Dada

Make:

Make a protest piece of art and put a positive message out into the world. What do you care about - art classes in schools? The environment? Animal welfare? Maybe you just want people to be happy and dance! Use collage, newspaper, stencils and paint and mix word with image. Go on a parade with your artwork.

Draw:

Look around and notice any objects, nature, animals and buildings surrounding you. Take two of these things and make quick sketches of them. Then make a new sketch of the two things merged together to make a new thing. What new thing have you made? What does it look like? Could it be a new invention? Create a series of your own Arpaden with other objects and give them titles.

MAKE

ChanceCreations

Using chance to make artwork


Dada artists embraced chance, accident, and improvisation. These elements were prominent in their creation of collages. Using chance as part of the artist’s process was a huge contrast from traditional artistic practices like craft, control, and intentionality.

Arp was one of the first artists to make randomness and chance part of the work. He discovered this when he was struggling with the composition of a drawing and annoyed, he ripped the drawing and the pieces fell on the floor. The way the pieces had landed and their arrangement provided Arp with the result that he had been looking to achieve all this time. From there he saw chance as a collaborator in his process. This

Chance Creations

was a game-changer in the visual arts. Until then, Western artists had striven for a skilled level of control.

Sometimes, Arp would cut out pieces of paper and colour them, laying the scraps onto a piece of cardboard and shaking them then letting them lie where they’d fallen. To remove his own artistic intervention further he used a paper cutter. He then realised that tearing paper with no intended direction or shape was the ultimate process to enable chance.

Chance Creations

Chance Creations

Arp, Torn Up Woodcut, ink drawing, 1920-54


Arp’s chance collages were about letting life surprise you.

What has surprised you today?

Arp, According to the Laws of Chance, 1933

Chance Creations

23Teachers and Groups Resource Chance Creations

Chance Creations

Make:

Collaborate with chance and make your own chance creations. Take some coloured paper, tear it into pieces and let them fall onto a piece of cardboard. Do you like the result? Are there any changes you would like to make? Change the position of 1 or 2 pieces. Does this improve the artwork?

Make and discuss:

How else can you collaborate with chance? Try using other mediums like dropping a piece of string and tracing the line it makes or flicking and dripping paint. Do you recognize anything in the end result? Give your piece a title and present it to your group and discuss whether you think it is successful or not and why.

MAKE

DISCUSS

SurrealismExperimenting with dreams

and the subconscious

25Teachers and Groups Resource Surrealism

In 1925 Arp was among the co-founders of another major movement: Surrealism. Surrealism began in the 1920s. It was all about experimenting with imagination. Surrealists were inspired by a famous psychologist called Sigmund Freud. (A psychologist studies behaviour and how people think). He thought and wrote about the mind, memories and human instincts. He was also interested in people’s dreams and their subconscious thoughts. Subconscious thoughts are thoughts that we don’t even know we’re having.

Surrealists liked to put together things that are not normally seen together – such as a tooth and a fork in Arp’s wooden relief sculpture Shirt Front and Fork, 1922.Painted in black, grey and white you can quickly

identify the shape of a fork on the right side but the object to the left, which resembles an enlarged tooth, is less easy to identify and remains mysterious.

Arp made the work a few years after joining the Dada group and just before holding his Surrealist exhibitions. Shirt Front and Fork marks his transition from Dada to Surrealism. It experiments with the stream of unconsciousness, the core ambition of the Surrealists. Arp favoured a restricted colour palette, “especially...black, white and grey” because, he explained, “There is a certain need in me for communication with human beings. Black and white is writing.”

Surrealism Dreams


Surrealist art was often inspired by dreams.

If you drew one of your dreams what would it look like?

How would you describe Arp’s relief woodcuts?

How do you think they feel to touch?

Are they 2D or 3D?

Describe the shapes and colours.

Arp, Bottle and Bird,1925-50

Surrealism


Automatism, is when people do things automatically without thinking – like doodling or word-association.

Surrealists also experiemented with the idea of automatism.

Have you ever drawn a scribble and then tried to find charac ters in it?

Arp, Automatic Drawing, 1916

Surrealism

28Teachers and Groups Resource Surrealism

Arp was a prominent experimenter of automatic drawing and developed this technique to create his later sculptures.

Automatic drawing was developed by the surrealists, as a means of expressing the subconscious. In automatic drawing, your hand is allowed to move randomly across the paper. In the same way Arp used chance and accident in his collages, he used it in his mark-making. The idea was that the drawing might reveal something in the subconscious, which would otherwise be repressed.

From 1917, Arp’s work shifted away from geometric forms toward a more fluid, organic style. During a trip to a Swiss lake resort, Arp was inspired to evoke the branches, stones, roots, and grasses he observed. He soon began using similar shapes in his drawings and created free flowing forms that suggest the absence of deliberate consciousness.

Surrealism Automatic Drawing

Etching print from Vers le Blanc Infini (Lausanne – Paris: La Rose des Vents, 1960)

Arp, Torso Fruit, 1960


DRAW

Turner the Innovator

Surrealism

Draw and discuss:

In pairs take it in turns for one person to say an adjective and the other to draw what comes to mind when they think of this word. For example if I say ‘green’, what do you think about? Grass, snake, bottles? Draw it. Share your drawings at the end and discuss whether and how the drawings are connected to the words. Do your drawings reveal anything about you? Or how you think?

Draw and make:

Go on a ‘daydream’ and make a series of sketches without really thinking about what you are drawing or trying to draw. Choose one of these doodles and make a 3D model of it. How will you show the drawn lines as shape and form? What materials will you use? Many of Arp’s sculptures resemble the human body. What do you think your sculpture looks like?

MAKE

DISCUSS

NatureBiomorphic sculpture

inspired by nature


The word most commonly used to describe Arp’s sculptures is biomorphic. Biomorphic comes from the Greek words ‘bios’, meaning life, and ‘morphe’, meaning form.

As with his collages, paintings and reliefs, Arp’s sculptures were created with a focus on nature and chance. Arp always began his sculptural forms in plaster, which he worked instinctively and shaped into natural forms through carving and sanding.

He made a series of sculptures called Human Concretions. These forms are not human figures, but biomorphic, objects that seem alive and evolving, sometimes toward and sometimes beyond recognition. The sculptures express Arp’s big idea that things in nature constantly change: they live, grow and die and are never complete and therefore in his work nothing is ever finished.

Nature

Nature

Biomorphism

Arp, Pagoda Fruit, Bronze, 1949

DISCUSS

32

Nature

“Art is a fruit that grows in a man, like a fruit on a plant, or a child in its mother’s womb.”

Choose one of Arp’s

sculptures.

Look at it

closely.

Imagine it is alive.

What would it sound like?

How would it communicate?

How would it feel?

How would it smell?

How would it move?

Outline of Tree of Bowls, 1947


‘I want my work to find its humble place in the woods, the mountains, in nature.’

Where would you place this sculpture to lose it?

Arp thought up the titles only after the work was complete. The title suggests a landscape, but as you move around the sculpture and look at it from different angles it evokes multiple ideas. This is how the artist wanted it. Like others in the Dada circle, Arp believed that the viewer completes the work of art.

DISCUSSArp, Sculpture to be Lost in the Forest, 1932

Nature

34

Arp created his sculptures in plaster, sanding away until he found the satisfying shape.

‘I work until enough of my life has flowed into its body.’ Do you ever feel like energy is flowing from you into the task that you are doing?

Have you ever kept working on something until you felt like it was just right?

Arp, Three disagreeable objects on a face, 1930

Nature

Arp used all sorts of different materials when he was creating. Explore some of these materials: think about their properties and how these affect the form of art that can be made from them.

hard

ness

weight

paper

plasterwood

polished bronze

bronze

brass

string

aluminium

strong

shiny

stretchy

trans

parency

flexi

bilit

y

waterproof

Nature Materials EXPERIMENT

From bottom left to top right: Untitled (Collage with Squares Arranged according to the Laws of Chance), 1917. Two Heads, 1927. Torso Fruit, 1960. Bird Mask, 1918. Poupee Basset, 1965. Pagoda Fruit, 1949. Head of Gnome called Kaspar, 1930. Two Heads, 1924. Concret concret G -Enfant et Tete, 1961

Nature Design

Architects like Charles Eames and Eero Saarinen took inspiration from Arp’s biomorphic sculptures for their furniture designs.

Design your own piece of furniture inspired by Arp’s work


DESIGN

37Teachers and Groups Resource Nature

Make and collage:

Print an image of one of Arp’s sculptures. Can you further ‘evolve’ it? Use lots of materials to dress it up, give it eyes or add extra limbs and create a collage. Give your new creature a name. Is it more humanoid, or more plant- or animal-like? Present your creature to the group.

Nature

Walk and discuss:

Go outside and take images of Arp’s sculptures with you. Arp said he wanted his art to find its place in nature. Discuss where you would place the sculptures and why?

What natural forms can you see in the sculpture? Can you find anything around you that looks like part of the work? The shapes in his work might look like pebbles, buds or drift wood.

MAKE

DISCUSS

WALK

Tracey Emin, ‘My Bed’/JMW Turner

Tracey Emin’s iconic and controversial installation My Bed will be on display alongside a collection of JMW Turner’s seascapes and stormy skies, loaned

from Tate’s collection and chosen by the artist.

The artwork in this gallery includes material that may not be suitable for children.

If visiting the gallery with a group please speak to a member of staff on arrival, or give a member of the learning team a call prior to your visit on 01843 233 026


Tracey Emin’s work is biographical, confessional and often controversial. Her life experiences and stories are revealed with raw openness and conveyed in a range of media, including needlework, sketching, video, neon lights,and sculpture.

Although her work deals with the often intimate details of her personal life, Emin addresses issues that are common to everyone: birth, sex, mortality and the whole cycle of human existence. She has developed a visual language that is comprised of everyday materials and uses art and craft techniques that are accessible to everyone.

Emin grew up in Margate, where her parents ran a hotel. She studied at Maidstone College of Art and later at the Royal College of Art London. Her artistic breakthrough came with the Sensation exhibition of contemporary art owned by Charles Saatchi at the Royal Academy, 1997.

Tracey Emin, ‘My Bed’


My Bed

‘I realised I was my work, I was the essence of my work.’


‘By realising how separate I was from it, I separated myself from the bed. I wasn’t there anymore.’

How does the work make you feel? Imagine that you are the occupant of the bed.

Tracey Emin, My Bed, 1998


My Bed was the product of a ‘lost weekend’ in Emin’s council flat in Waterloo in 1998. She recalled: ‘I had a complete absolute breakdown and I spent four days in bed. I was asleep and semi-unconscious. When I finally did get out of bed I had some water, went back and looked at the bedroom and couldn’t believe what I could see: this absolute mess and decay of my life.’

She was confronted with the sight of her unmade bed surrounded by the evidence of a wasted existence: empty bottles, ashtrays, discarded underwear, items of feminine hygiene, used tissues, and other accumulated litter.

Tracey Emin, ‘My Bed’ My Bed

‘Ugghh! It was disgusting. Then from one second looking horrible, it suddenly transformed itself into something removed from me, and something beautiful.’

At this revelatory moment she was able to separate herself from the bed and she realised its possible re-birth or resurrection as an artwork. The scene had come to symbolise her emotionally difficult period.

This year will be the bed’s 20th anniversary of being made which Emin always installs herself. She says the bed has become a self portrait from that time.

‘From a distance, it looked like a painting.’



DISCUSS


Does the way your bedroom look say anything about you? Could it be an accurate self portrait?


How does your bedroom look right now? Is it tidy? messy? What

things have you left lying around?

When My Bed made its debut it provoked, shocked and confused people with one critic saying, ‘any list with Tracey Emin cannot be taken seriously’. Do you think My Bed should be

considered art? Why?

For Emin recreating My Bed 20 years later

has become a time capsule and feels ‘a ghost’ from that

particular time.

What things could you record or make that represent you right

now and be used as a timecapsule for the year 2037? Perhaps a piece of clothing, a collection of things in your pocket or

an artwork.


My Bed represents a pivotal point in British art in the 1990s in which contemporary artworks achieved mainstream fame. Since 2015 the installation has been shown at Tate Britain alongside paintings by Francis Bacon and at Tate Liverpool with works by William Blake. Here it is shown alongside a group of oil paintings and watercolours by JMW Turner selected by Tracey Emin. These works from the 1830s onwards depict powerful, stormy skies and rough seas, echoing the personal chaos and inner turmoil represented by My Bed. Turner’s rapid brushstrokes and the physical way he worked with paint, sometimes pushing the wet paint around with his fingers evokes the energy and restlessness of waves in a storm.

Tracey Emin, ‘My Bed’ JMW Turner,

The Kent Coast from Folkestone, 1829


DRAW


Discuss:

Go around the exhibition and make comparisons with My Bed and the JMW Turner paintings. What are the relationships between the artworks in the space? How do they enhance or change each other? Emin chose which Turner paintings would be shown next to My Bed, does her choice reveal anything about her as an artist or My Bed ?


Write:

Imagine that you are the occupant of the bed or inside one of Turner’s stormy scenes. The works echo the chaos and personal torment of the artists. Write down words that come to mind when you look at the work. Write an imaginary account of your emotions and experiences.

CREATIVE WRITING

Key Words


Dada

Surrealism

biomorphic

protest

war

society

chance

random

subconscious

dreamform

strength

hardnessflexibility

weight

transparency

sculpture

nature

evolve

automatism

Cross Curricular Opportunities

Subjects covered in the exhibition linked to the National Curriculum


ArtEvaluate and analyse creative works using the language of art, craft and design. Use Arp’s sculptures to make comparisons with natural forms.

ScienceWork scientifically by investigating different materials and their properties.

DesignBuild and apply a repertoire of knowledge, understanding and skills in order to design, iterate and make rapid prototypes.

English and LiteracyExpand vocabulary and understand definitions.

Participate in discussions, presentations, debates and form poetry, short narratives; respond to images, prototypes and products.

HistoryKnow and understand aspects of British history and local history, including World War 1.

Cross Curricular Opportunities

Further Research

Sources ofInformation

50Teachers and Groups Resource Further Research and Sources of Information

Jean Arp’s biographywww.theartstory.org/artist-arp-hans.htm

www.tate.org.uk/art/artists/jean-arp-667

World War I/II

www.bl.uk/world-war-one/teaching-resources

http://www.bbc.co.uk/schools/0/ww1/

Dada & Surrealism

www.moma.org/momaorg/shared/pdfs/moma_learning/docs/MAI5_Full.pdf

Matthew Gale, Dada and Surrealism (London: Phaidon Press, 1997), 225.

Hans Richter, Dada: Art and Anti-Art (London: Thames & Hudson Ltd., 2002), 51

Tracey EminTracey Emin talks about My Bedhttp://www.tate.org.uk/context-comment/video/tracey-emins-my-bed-tateshots

https://www.theguardian.com/artanddesign/2016/sep/16/tracey-emin-artist-1998-installation-my-bed-tate-liverpool-merseyside

Tracey Emin: What Do Artists Do All Day

https://www.youtube.com/watch?v=WZBkxqNJC9g

Tracey Emin on moving back to Margate

www.dailymail.co.uk/home/event/article-4951522/Tracey-Emin-swapping-London-Margate.html

Recording of Arp reciting his poem ‘Dada’

www.youtube.com/watch?v=molt7gOY4b0


Image Credits

Jean (Hans) Arp with Navel-Monocle, c.1926 Kunstmuseum Winterthur, Dr Emil and Clara Friedrich-Jezler bequest, 1973 © Schweizerisches Institut für Kunstwissenschaft, Zürich, Lutz Hartmann

Jean (Hans) Arp, Merz 5, Arp Mappe: 7 Arpaden (Arp Portfolio: 7 Arpades), 1923 c/o Pictoright Amsterdam/Stedelijk Museum Amsterdam

Jean (Hans) Arp, Dada, ink drawing, 1920. Fondazione Marguerite Arp, Locarno

Jean (Hans) Arp, Bottle and Bird, 1925/50 Fondazione Marguerite Arp, Locarno

Jean (Hans) Arp, Sculpture to be Lost in the Forest, 1932 Kröller-Müller Museum, Otterlo, The Netherlands

Jean (Hans) Arp, According to the Laws of Change, 1933 Tate; Presented by Mr and Mrs Robert Lewin through the Friends of the Tate Gallery 1987

Jean (Hans) Arp, Torn up Woodcut, 1920-54 Tate: Presented by Mr and Mrs Robert Lewin through theFriends of the Tate Gallery 1970

Jean (Hans) Arp, Automatic Drawing, 1916 © 2017 Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn

Jean (Hans) Arp, Torso Fruit, 1960 Private Collection, Somerset

Jean (Hans) Arp, Three disagreeable objects on a face, 1930 Stiftung Arp e.V,. Rolandswerth/Berlin

Jean (Hans) Arp, Concret concret G -Enfant et Tete, 1961 Courtesy Willem Baars Projects

Jean (Hans) Arp, Head of Gnome called Kaspar, 1930 Collection Thomas and Cristina Bechtler, Switzerland

Jean (Hans) Arp, Sculpture to be Lost in the Forest, Tate: Accepted by HM Government in lieu of tax and allocated to theTate Gallery 1986

Jean (Hans) Arp, Poupee Basset, 1965 Abbot Hall, Lakeland Arts Trust, Kendal, Cumbria

Jean (Hans) Arp, Pagoda Fruit, 1949 Tate: Purchased 1951

Tracey Emin with her famous messy bed (Picture: Rex) Mark Chilvers/The Independen/REX

Tracey Emin, My Bed, © Tate London 2017

JMW Turner, The Kent Coast from Folkestone Harbour to Dover, 1829 Tate: Purchased 1951

turner contemporary presents arp: the poetry of … arp teacher... · arp: the poetry of forms...

Documents