The New Yorker: Hans Richter

newyorker-logoHANS RICHTER

The death knell for Dada sounded in 1924, according to art historians, and many artists moved into Surrealism. Others, like Richter ( 1888 – 1976), a founder of Zurich Dada, never vacated the premises. In fact, he wrote one of the early comprehensive texts on the subject, “Dada: Art and Anti-Art” (1965). Richter’s enduring allegiance to the anti-movement is evident in this sweeping gallery survey, where abstract geometric paintings, Arp-like wood reliefs, and charcoal drawings crafted throughout his career could all easily be dated in the teens. His most exciting contribution, however, was his films, several of which flicker on flat-screen monitors. “Rhythm 21 ” (1921), in particular, was among the first avant-garde films to feature abstraction, and pointed the way for later practitioners like Stan Brakhage.

Through Sept. 15. (Stendhal, 545 W. 20th St. 212-366-1549.)

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