Extraordinarily innovative and diverse, Sophie Taeuber-Arp figured prominently among the Zurich avant-garde, a swirl of Dadaists, Constructivists, and abstractionists. She pirouetted from paintings to sculpture, to textiles, to stained-glass windows, to marionettes, to design in many spheres (stage, costume, graphics, interiors, architecture). Her geometries and colors pulsate in paintings and wood bas-relief tondi. And her exquisite embroideries, beadwork, furniture, and tapestries propelled the British Arts and Crafts Movement into the 20th century. This endless energy and dizzying range come together in the exhibition “Sophie Taeuber-Arp: Living Abstraction,” which opens next week at London’s Tate Modern. READ ON

What living artist would agree to a group show where the only other group member is Edvard Munch? A brave one, clearly: someone who doesn’t mind being called self-serving, self-aggrandizing, or self-obsessed. I can’t imagine a better partner for Munch than the 57-year-old painter and conceptualist Tracey Emin, because—like Munch—she’s been called all these things and worse and couldn’t care less. This is the same Tracey Emin who filled a gallery with giant selfies, who titled one of her creations Everyone I Have Ever Slept With 1963–1995 (bet you can’t guess what it’s about!), and who turns discussion panels into one-woman shows. Her Expressionist canvases and confessional installations have the rawness of a private crisis—small wonder she’d be drawn to the creator of The Scream. READ ON