- ArpOur PickBy James Thrall Soby
- Jean ArpOur PickBy Carola Giedion-Welcker
- Hans Arp: Sculpture 1957-1966By Eduard Trier
- The Early Sculpture of ArpBy Margherita Andreotti
- The Art of Jean ArpBy Herbert Read
- Jean Arp Scupture: His Last Ten YearsBy E. Trier
- Arp - Painter Poet SculptorBy Eric Robertson
- Hans Arp, Skulpturen-Eine BestandsaufnahmeBy A. Hartog
Important Art by Hans Arp
One of Arp's earliest "chance collages," this composition demonstrates his signature technique of tearing paper into rough shapes and dropping them onto a larger sheet, and then pasting them where they happened to fall. However, if we look carefully at this composition, what are the "chances" that pieces of paper would fall this way? They are relatively evenly spaced and aligned with the frame, gently guided by the artist into an unfussy, yet harmonious composition. Even if Arp was not entirely willing to relinquish control over the process, this idea was incredibly radical for the period. One of the first attempts to engage the element of chance in a work of art, it demonstrates Arp's commitment to the ideal of chaos, a hallmark of Dada.
One of a series of wooden relief sculptures made by Arp in the 1920s, Shirt Front and Fork depicts a recognizable form in an unrecognizable context. Rendered in black, grey and white, the work has an overt graphic quality that allows the viewer to quickly identify the shape of a fork on the right side. The object to the left, which resembles an enlarged tooth, is less easy to identify, and remains mysterious, evoking a host of associations that are ultimately unresolved for the viewer. Completed only a few years after Arp joined the Zürich Dada group and shortly before he participated in landmark Surrealist exhibitions, this work marks the transition from one movement to another. It is rooted in a stream of unconsciousness that foreshadows the core ambition of the Surrealists to resolve the contradictions between dream and reality. Throughout his career, Arp favored a restricted palette and, as he put it in 1955, "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."
This painted-wood relief belongs to a group of related works that Arp completed in Paris in the 1930s. Animated through the seemingly random placement of the assembled elements, but in fact the product of a careful series of aesthetic choices, Configuration with Two Dangerous Points reveals Arp's strong focus on achieving a perfect structural balance without a loss of movement. Composed of four white and two black elements, this work exhibits an overt sense of play. This quality is further enhanced by its title, which is partially descriptive, but also humorous. In a work that essentially consists of floating blobs with gentle curves, where are these so-called dangerous points?