“In [Sonia Delaunay’s] studio,” a 1927 advertising flyer promised, “you will know that you are seeing something new, something that… will transform your life into a work of art.” Delaunay’s Paris atelier in the twenties was producing textiles, carpets, garments, movie sets, furniture, books, and paintings—everything a person might need for an artful existence and all made in the “simultaneous” (simultané) style that the artist developed with her husband, the painter Robert Delaunay.
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‘Sightlines,’ on view through the end of the month at the Bard Graduate Center, is both a thrilling showcase of African metalsmithing and a bold reimagining of viewing African art.