2012–2013 MFAH Annual Report
The Museum of Fine Arts, Houston μ˙ annual report 2012–2013 Cover: MONIR SHAHROUDY FARMANFARMAIAN Nonagon, 2011 Mirror and reverse glass painting on plaster and wood Museum purchase funded by the Caroline Wiess Law Accessions Endowment Fund 2013.97 Monir Shahroudy Farmanfarmaian uses mirror mosaics as her chief means of expression. A tradition rooted in sacred architecture in Iran, mirror mosaics are pieced together in dense arrays, capturing every nuance of light and movement. With Nonagon, Monir both adds to and boldly redefines this practice. Collaborating with traditionally trained artisans, she constructs the nine-sided relief to suggest a mystical and infinite geometry. At the same time, Monir pays homage to the primary structures of Minimalism, establishing a vital bridge between her Islamic heritage and today’s avant garde. Opposite: MATTA La Pipe (pour 120 Journées du Marquis de Sade) [The Pipe (for 120 Days by the Marquis de Sade)], 1943–45 Pastel on paper, laid on cardboard Museum purchase funded by “One Great Night in November, 2012” and the Caroline Wiess Law Accessions Endowment Fund 2012.561 This work on paper is one of four segments (two of which are now lost) that together represent one of Matta’s most ambitious works of the mid-1940s. Here, using a title that references torture in the Marquis de Sade’s writing, Matta explores aspects of suffering, violence, and the extremes of the human condition. Perhaps inspired by Picasso’s Guernica (1937), Matta’s figure raises his fist in anguish, but also as a gesture of perseverance. ANNUAL REPORT JULY 1, 2012–JUNE 30, 2013 THE MUSEUM OF FINE ARTS, HOUSTON, IS DEDICATED TO EXCELLENCE IN COLLECTING, EXHIBITING, PRESERVING, CONSERVING, AND INTERPRETING ART FOR ALL PEOPLE.
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