By Metropolitan Museum of Art
Книга раскрывает основополагающие геометрические принципы построения композиции в сложных орнаментальных произведениях исламского искусства.
Включает в себя краткий обзор исламского искусства, описание работ, находящихся в запасниках музея «Metropolitan», а также ряд уроков по исламскому искусству.
Книга содержит большое количество иллюстраций, что обеспечивает ее понятность и без перевода.
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Example text
52 We appear to be moving toward a cinematic-museographic interfacade. 53 Frank Gehry’s unrealized design for a new Guggenheim Museum in New York City, stretched out on the waterfront and floating with the city’s harbor life, looked like a film strip unraveled in endless folds. 54 Gehry says he “dream[s] of brick melting into metal, a kind of alchemy . . [that tries] to get more liquid, to put feeling, passion and emotion into . . ”55 This alchemy, as we have claimed, is the very matter of celluloid imaging—that fluid place where motion becomes emotion.
It’s a kinetic process. ”5 In the Wilsons’ installation, space is encountered precisely this way, for the very placement of the projecting screens is conceived kinetically. Here it is not just the images that move: the image of architecture does. The diverging directions of the screens speak of an artistic plan itself conceived in motion, and the installation’s design oVers more than paths to be followed: it creates a mobile architecture of vision. In such a moving way, Jane and Louise Wilson have not simply referenced Pasmore’s artistic itinerary and design method; they have, in fact, reengineered it.
As we recognize this fashion of dwelling, we return to the “discarded garment”—that sartorial notion with which we began our musing on recollection. 60 This understanding of design does not reject the past but, indeed, enables us to conceive of it as a suitcase with which we may return to the cemetery—for it may contain something we need today or something we desire for the future. We might wish to concede to the cemetery a certain heterotopic liveliness insofar as it displays a conflated geography 32 CHAPTER ONE and historicity.