#Monir Shahroudy Farmanfarmaian

[nununiverse]

Monir Shahroudy Farmanfarmaian

[bartleby-company]

Monir Shahroudy Farmanfarmaian (1922 - 2019) Third Family Nonagon, 2011 Reverse painted glass, mirrored glass, and plaster 46 1/2 x 46 7/8 in.-118 x 119 cm

[abwwia]

Monir Shahroudy Farmanfarmaian in her Tehran studio, 2015. James Whineray/Freunden von Freunden.

[travelling-my-little-pony]

Cutesaurus is looking at an artwork by Monir Shahroudy Farmanfarmaian.

In the Tate Modern, in London, England.

[higherentity]

[longlistshort]

As part of their programming for PST: Art & Science Collide, Getty Museum is showing Lumen: The Art & Science of Light. The exhibition includes a collection of European medieval artwork, along with several contemporary works, that focus in some way on the science and concept of light.

From the museum about the show-

Through the manipulation of materials such as gold, crystal, and glass, medieval artists created dazzling light-filled environments, evoking, in the earthly world, the layered realms of the divine. To be human is to crave light. We rise and sleep according to the rhythms of the sun, and have long associated light with divinity. Focusing on the arts of western Europe, this exhibition explores the ways in which the science of light was studied by Christian, Jewish, and Muslim philosophers, theologians, and artists during the “long Middle Ages” (800-1600 CE), when science and religion were firmly intertwined. Natural philosophy (the study of the physical universe) served as the connective thread for diverse cultures across Europe and the Mediterranean, uniting scholars who inherited, translated, and improved on a common foundation of ancient Greek scholarship.

This story is equal parts science, poetics, and craft. By bringing together a variety of media that materialize light and objects that communicate how medieval people understood the lights of the heavens and of the eye, this exhibition demonstrates how science informed the artistry of the Middle Ages and Renaissance. To convey the continuing sense of wonder inspired by starry skies or moving light on precious materials, the exhibition includes several contemporary works of art placed in dialogue with historic objects.

Below are a few selections-

“On the Construction of the World”, in “Book of Divine Works (Liber divinorum operum)” (text in Latin), Rupertsberg, Rhineland, Germany, about 1210-40 CE by Hildegard of Bingen (German, 1098-1179 CE), Tempera, gold, and ink on parchment

About this work from the museum-

The nun and philosopher Hildegard of Bingen is known for her deeply religious visionary experiences in which she communed with the fiery “living light” (lux vivens) of God. Yet her evocative spiritual imagery reflects the language of science and cosmology. Shown at lower left, Hildegard, an illuminator as well as author, recorded her dazzling vision of the human at the center of nested elemental spheres. The figure is ringed by heavenly bodies, the clouds, and the winds, all encircled by the figure of flaming Caritas, or Divine Love. As a way to understand humankind’s relationship to the Godhead, Hildegard’s imagery emphasizes the correspondence between the body and the cosmos; just as the four humors affected health, the four winds controlled the earth, and the vivifying power of divine light nourished both.

“The Glorification of the Virgin”, attributed to Geertgen tot Sint Jans, Haarlem, northern Netherlands, about 1490-95 CE, Oil on panel

The painting above by Geertgen tot Sint Jans has so many fascinating details and was part of a section titled Divine Darkness.

The wall text from that section-

Christianity, Judaism, and Islam all associate God with light. In the Creation story told in Genesis, when light was created, so too was darkness. As medieval optical theorists understood that sight was contingent upon light and that bodily vision was not possible in darkness, theologians of the time equated the unknowable, invisible aspects of God with darkness. According to a medieval “negative theology,” God exists beyond human perception and poses a challenge to vision itself. The fifteenth-century Christian theologian Nicholas of Cusa wrote that “God is found when all things are left behind; and this darkness is light in the Lord.” Such contradictory associations between God and both light and darkness were fundamental to the verbal and visual expressions used to elucidate the nature of the divine.

And about the painting-

Golden light surrounds the glorified Virgin Mary and Christ child at the center of this intimate and absorbingly detailed devotional painting as a luminous host of angels fills the heavens with eternal music. Their brightness contrasts with the dark perimeter that envelops this apocalyptic vision to suggest the ineffable darkness in which God dwells.

Constellations from a Hebrew Translation of Ptolemy’s “Almagest”, In an astronomical anthology (text in Hebrew), Catalonia, about 1361 CE, Tempura, gold, and ink on parchment and Astrolabe (with Hebrew and Judeo-Arabic Script), Iberia (Spain) or Italy, 1300s CE

From the museum about these two items-

In the Muslim and Christian courts of Europe, and particularly in Iberia, highly educated, multilingual Jews held important positions as physicians and astrologers. Jewish practitioners of these related fields contributed original works on astronomy, mathematics, and philosophy, drawing from and improving on Greco-Arabic sciences. At left, the Hebrew translation of Ptolemy’s Almagest (a work that was little known in Europe before 1200) updated the ancient text with the addition of astronomical tables that guided religious observance. Only a small number of European astrolabes with Hebrew inscriptions survive. This exquisite example lists the names of twenty-four stars in a combination of Hebrew and Judeo-Arabic. The centermost circle marks the ecliptic, or the sun’s path, and is labeled with the zodiacal signs in Hebrew.

“Untitled (Mugarnas)”, 2012, Monir Shahroudy Farmanfarmaian, Mirrors, reverse-glass painting, and plaster on wood

One of the most impressive contemporary pieces in the show was the sculpture pictured above, by Monir Sharoudy Farmanfarmaian, which captured and reflected light so beautifully.

About the work from the museum-

Monir Shahroudy Farmanfarmaian was deeply inspired by a visit to the Shah Cheragh shrine in Shiraz, Iran. The vaulted domes and walls of that site are covered in dazzling, intricate mirror mosaics that fracture and dematerialize space while reflecting light and amplifying movement and activity in the shrine below. Farmanfarmaian began exploring these mosaic techniques, eventually collaborating with master artisans to produce sculptural and wall-mounted works that incorporate mirror mosaic and reverse-glass painting. Untitled (Mugarnas) adopts the sacred and decorative forms that are common in Islamic architecture, and expresses the perfection of creation.

This exhibition closes 12/8/24.

[whileiamdying]

From Tehran to the Guggenheim, Iranian artist reflects

Fred Pleitgen visits Monir Farmanfarmaian, age 91, at her Tehran studio; the first retrospective of her work at a U.S. museum is now on display in New York.

[blow-glass-kick-ass]

[azadiazadiazadi]

@/ruqaiyyahboo / conceptual mendhi for tate collective, inspired by Monir Shahroudy Farmanfarmaian's piece 'Something Old Something New.'

[nununiverse]

Monir Shahroudy Farmanfarmaian

[abwwia]

Monir Shahroudy Farmanfarmaian, Octagon, 2010. Image courtesy of the artist and Third Line Gallery, Dubai, UAE

[i-seeit]

Untitled (Muqarnas)

Monir Shahroudy Farmanfarmaian

2012

[baylornonwovenstructures]

Welcome to Non Woven Structures!

This website is devoted to the exploration the world of non woven fiber structures alongside our in class time together this Spring. This course explores a wide range of off loom textile structures such as basketry, netting, crochet, felting and soft sculpture.

This website will serve as the homebase for this class. Check here regularly for important course information on fiber techniques, processes, and concepts as well as information for all assignments, class announcements, and detailed linkable fiber art resources.

We will examine off loom textile techniques together in hopes of finding ways that the concepts, materials, and processes of fiber might serve to enhance your own developing art practices, wherever you go after this class.

I’m glad you are here!

Images above, from top:

Monir Shahroudy Farmanfarmaian, "Heartache No 22", 1994, mixed media.

Meret Oppenheim, "Object", 1936.

Sarah Zapata, "A Famine of Hearing", 2019

Cecilia Vicuna, "Balsa Snake Raft to Escape the Flood", 2017, found mixed media sources from New Orleans, Chile and New York.

Yayoi Kusuma, "Accumulations #1", 1962

work by Josh Faught

art meme

some things to learn in non woven structures, from a deck of cards I made using text from the book “101 Things to Learn in Art School by Kit White

[chainsawpunk]

Monir Shahroudy Farmanfarmaian, Nonagon, 2011, mirror and reverse glass painting on plaster and wood, 45 5/8 × 46 1/2 × 5 1/2 in. (115.9 × 118.1 × 14 cm)

[thunderstruck9]

Monir Farmanfarmaian (Iranian, 1922-2019), Pentagon Maze, 2014. Mirror and reverse glass painting on plaster and wood, 120 x 120 cm.

[ahesitantpurist]

⌢

monir shahroudy farmanfarmaian ⎠ lightning for neda

⌣