A Quote by Martin Filler
From the outset, MoMA followed the Bauhaus's strict prohibition against design that even hinted at the decorative, a prejudice that skewed the pioneering museum's view of Modernism for decades.
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Modernism, rebelling against the ornament of the 19th century, limited the vocabulary of the designer. Modernism emphasized straight lines, eliminating the expressive S curve. This made it harder to communicate emotions through design.
The place has had a super-conflicted relationship to its mission. In 1956, it opened as the Museum of Contemporary Crafts. Then in 1986 it had a midlife crisis and changed its name to the American Craft Museum. Then in 2002 the name changed again, this time to the Museum of Arts and Design. Maybe in 2025 the place will be called the Designatorium. The big problem with a museum of craft and design is that all art has craft and design.
To write or even speak English is not a science but an art. There are no reliable words. Whoever writes English is involved in a struggle that never lets up even for a sentence. He is struggling against vagueness, against obscurity, against the lure of the decorative adjective, against the encroachment of Latin and Greek, and, above all, against the worn-out phrases and dead metaphors with which the language is cluttered up.
The ultimate, if distant, aim of the Bauhaus is the unified work of art - the great structure - in which there is no distinction between monumental and decorative art.
I'm noticing a new approach to art making in recent museum and gallery shows. It flickered into focus at the New Museum's 'Younger Than Jesus' last year and ran through the Whitney Biennial, and I'm seeing it blossom and bear fruit at 'Greater New York,' MoMA P.S. 1's twice-a-decade extravaganza of emerging local talent.
Islam makes very large claims for itself. In its art, there is a prejudice against representing the human form at all. The prohibition on picturing the prophet - who was only another male mammal - is apparently absolute. So is the prohibition on pork or alcohol or, in some Muslim societies, music or dancing. Very well then, let a good Muslim abstain rigorously from all these. But if he claims the right to make me abstain as well, he offers the clearest possible warning and proof of an aggressive intent.
Post-Modernism was a reaction against Modernism. It came quite early to music and literature, and a little later to architecture. And I think it's still coming to computer science.
Universal design systems can no longer be dismissed as the irrelevant musings of a small, localized design community. A second modernism has emerged, reinvigorating the utopian search for universal forms that marked the birth of design as a discourse and a discipline nearly a century earlier.
Craft is not a category; it's a means. The folks running the museum [Museum of Arts and Design]are sharp, and they know this, but they are in a bind.
I ran against a Prejudice that quite cut off the view.
Modernism in a way, early modernism, for instance, in pictures, was turning against perspective and Europe. And all early modernism is actually from out of Europe, when you think of cubism is African, is looking at Africa, Matisse is looking at the arabesque, Oceania. Europe was the optical projection that had become photography, that had become film, that became television and it conquered the world.
I don't particularly follow the Bauhaus school of design, where you make everything into a black box - simplify it.
I love art and I find myself at the MoMA all the time. Museums are a real refuge for me. I go to a museum for any break that I have, and I'm very inspired by art.
If there is a well thought-out design standard, it should be followed. In practice, great design comes from great designers. That is empirically the case. If a great designer did a first-rate standard, that model should be followed. Great design is not democratic; it comes from great designers. If the standard is lousy, then develop another standard.
Trump is particularly unfit to serve because he approaches these without any view of what the truth is, and he approaches these with an enormous amount of prejudice. You cannot begin saying we want to solve the problem when you have a mindset that is against the Mexicans, against Islamists.
Wright's building made it socially and culturally acceptable for an architect to design a highly expressive, intensely personal museum. In this sense almost every museum of our time is a child of the Guggenheim.
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