Martin Filler
Martin Filler
Martin Myles Filleris a prominent American architecture critic. He is best known for his long essays on modern architecture that have appeared in The New York Review of Books since 1985, and which served as the basis for his 2007 book Makers of Modern Architecture, published by New York Review Books...
NationalityAmerican
ProfessionCritic
Date of Birth17 September 1948
CountryUnited States of America
arts decorative handsome museum next overall scheme takes
The Frankfurt Museum of Decorative Arts is a handsome building, which takes its cues from the riverside Biedermeier villa next to it, and it is well-integrated into an overall scheme for a group of small museums.
art artists interest obscure posthumous reveal tend variable
We take from the art of the past what we need. The variable posthumous reputations of even the greatest artists and the unpredictable revivals of interest in even the most obscure ones tend to reveal more about those who make revisionist assessments than about those who are being reassessed.
age although arts building countless emerge major middle principals unusual
Although there are countless tangents that a career in the building arts can take, it is nonetheless most unusual for a major architectural practice to emerge once a firm's principals are well into what is loosely called middle age.
religious art pandemics
Masterpieces of art possess immense potential to advance a worldview that could help assuage the societal terrors posed by globalization, the most thoroughgoing socioeconomic upheaval since the Industrial Revolution, which has set off a pandemic of retrogressive nationalism, regional separatism, and religious extremism.
art school design
Few developments central to the history of art have been so misrepresented or misunderstood as the brief, brave, glorious, doomed life of the Bauhaus - the epochally influential German art, architecture, crafts, and design school that was founded in Goethe's sleepy hometown of Weimar in 1919.
art loner force-of-will
Despite the persistent image of the architect as a heroic loner erecting monumental edifices through sheer force of will, the building art has always been a highly cooperative enterprise.
art construction-workers design
Nineteenth- and early-twentieth-century exponents of prefabrication were certain it would supplant age-old traditions of individualized design and handcrafted construction. The building art would be revolutionized by freeing designers and construction workers from repetitive tasks, and democratized by making high-style architecture more affordable.
artist creative misunderstood
The popular mythology of creative genius depends on beloved stereotypes of the artist in youth and old age: the misunderstood upstart who forces us to see the world afresh; and the revered sage who shows us depths of insight attainable only through a lifetime of hard-won experience.
trust art integrity
What a museum chooses to exhibit is sometimes less important than how such decisions are made and what values inform them. To have the crucial role of museum professionals usurped by self-serving tycoons in the name of economic imperative threatens not only the integrity of individual institutions but the very principle of art held in public trust.
jobs winning artist
Winning the Pritzker assures a flood of work in one's seventies and eighties, jobs necessarily carried out by assistants as the demands of modern-day cultural stardom and the inevitable waning of physical capacities prevent many architects from attaining the transcendent final phase more easily achieved by artists in other mediums.
artist design temptation
The danger for any artist whose work is both recognizable and critically acclaimed is complacent repetition - the temptation to churn out easily identifiable, eagerly welcomed, and readily salable designs.
art perception narrative
A turning point in the public's perception of the building art came with the publication of Frank Lloyd Wright's 'An Autobiography' of 1932, a picaresque narrative that captivated many who hadn't the slightest inkling of what architects actually did.
art order lines
All architecture, classical or not, must have some sense of order, and order is much harder to achieve without the straight lines and right angles that have dominated the building art from time immemorial.
art growth renaissance
Architecture traditionally has been the slowest of art forms. It was not unusual for great cathedrals to take centuries to complete, with stylistic changes from Romanesque to Gothic or Renaissance to Baroque as common as the addition of chapels or spires. But because the function remained the same, the form could be flexible and its growth organic.