Hans Arp

Greg is the artist, and I'm merely someone who is kind of picking up the pieces of the things he made because most of the work that I made was based on his – detritus, like his leftovers that were just kind of piled up in boxes.

And I started to see these like surrealist Dadaist forms from Hans Arp, Sophie Tauber Arp, which again, coincidence in name.

Also Hans Arp is Jean Arp, and Greg's wife is Jean Arp.

And so this was a starting point for me when I first discovered the shop.

And to me, I'm just kind of reworking things that he already made.

And it included over 400 abstract artists from the collection that she'd built up for Solomon Guggenheim.

But it showcased European masters who were experimenting with pure form and colour from Kandinsky, Léger, Hans Arp, Kurt Schwitters, as well as the English Ben Nicholson.

through to Albert Glaes and Juan Gris.

And she, you know, as you can see here, she put a spotlight on Kandinsky.

I, I know, that's a little rich when talking about Dada, the movement whose entire MO is to make as little sense as possible, but this one breaks the rules even of its own nonsense.

It's by a French artist named Jean Arp, and it's a collage called Untitled, with the subtitle Squares Arranged According to the Laws of Chance.

[music] It looks like a big piece of gray construction paper laid with white and dark bluish-gray squares with ragged edges, like they've been torn rather than cut.

Arp described this artwork in weirdly coherent terms, given that he's not an art historian explaining Dada but an actual Dadaist artist.

Rosenthal was an acclaimed war photographer.

This kind of luck doesn't just happen to an amateur.

Like Jean Arp's glue marks, the assisted chance, Rosenthal possessed the ability to set himself up for success.

Not only did he possess the bravery to do his job in the middle of a war zone, he trusted the value of his own eye.