Design and Art MIT PRESS collective work
Reconciliations between objects produced in the field of Art and Design are currently recorded by different observers. Identify these objects whose status is cloudy, it is implicitly asserting that other objects can be easily identified as falling within one or the other.
But what are the normal procedures of identification?
In the absence of binding or contractual definitions, consensus on the genesis and purpose art and design, only common representations and formalized: the artist creates -useless objects produced by hand-by itself-to be aesthetic and designer-design-aesthetic objects-products industrially-by-third to be useful are able to produce the normative criteria necessary for such identification.
They are therefore proposed definitions of tacit and can usually be attributed to the confusion felt an object to the exemption to one or more terms of these representations, the exemption limit whereby a designer has to be received in the world of art and an artist in the design.
If all these players are not obliged to comply, as is the case for the actors of the scientific community who adhere to a contractual joint project, they must justify their exceptions, to the extent that such representations, certainly not parent, remains the only basis for dialogue between the different currents of each discipline.
Typologies
Using shared representations identified and formalized artist-created- useless objects produced by hand-by itself-to be aesthetic and designer e-design-objects-aesthetic-industrially produced by a third to be useful can draw grids of analysis, allowing to better understand our intuitive classifications of objects in the two classes considered.
Typologies
Using shared representations identified and formalized artist-created- useless objects produced by hand-by itself-to be aesthetic and designer e-design-objects-aesthetic-industrially produced by a third to be useful can draw grids of analysis, allowing to better understand our intuitive classifications of objects in the two classes considered.
analytical normal cases
analytical cases non-normal
The first two sets against producers of articles corresponding common representatives, while the second considers a designer and a group of artists working for a rapprochement between art and design. There is a permutation of positions on all items, except those on the institutional status of the producers of objects.
In this taxonomic approach it is clear that there is no justification for the second grid, the names "designer" and "artist" if the mere authority of the actors in these environments.
So we need to know the reason for these producers object to whether the words "design" and "Art" have different meanings and institutional in their eyes.
start by Maarten Baas.
s Cabinet Erie Smoke burned furniture / epoxy coating
MAARTEN BAAS
Maarten Baas comes from the Design Academy Eindhoven. He was received bachelor in 2002 with, among other things, the series Smoke, a collection of stylish furniture charred with a blowtorch. Smoke joined
enough rapid collection Moiiiii, whose editor was none other than Marcel Wanders and his remarkable presence on major furniture fairs marks the beginning of an international reputation than his other series Demanti not Hey, flesh, needs a bookshelf! , Clay Furniture, Sclupt , Treasure Furniture ...
Maarten Baas presents himself as a designer intuitive. When asked about his motivation, he replied simply that he does what comes naturally and has nothing else to add. His concerns, as can be judged in view of sometimes terse or evasive answers revolve around the question of beauty and unique sending us a priori ... auratic size of the artwork.
I often find that people are fascinated by forms of beauty very standardized: the futuristic-looking cars, aggressive, bright, symmetrical, imposing ... This is not my idea of beauty. I'm looking for other definitions, more personal, more fragile.
His method of working also with the ability to slice projection and delegation which characterized normatively design activity of the designer. He himself performs some objects without precise planning of production.
For "Hey flesh, it's a bookshelf!" I am challenged to make a functional object from any bric-a-brac that had recovered flea. I did it without any regard for the obvious solution: I could cut a foot here, saw a bar there, and rebuild something. But I did not saw, only a roll of scotch, and I assembled it very spontaneously, by stacking flat surfaces, correcting imbalances, once the structure threatened to collapse.
But do not count on Maarten Baas to dispel any misunderstanding between art and design which he seems to ignore its existence. He sees himself as a designer elsewhere uninhibited, absolutely yes, impervious to criticism and if it is satisfied with the reception of his work, he does research in any way.
Many designers do not dare to take artistic risks because they are paralyzed by fear of failure Financial. They correct what is too expressive. And so we end up with a bunch of useless things and poor in the market.
The reasons that led him to leave the territory normative design are justified, therefore, it seems, only by an inner necessity, an attitude, again, historically artistic.
However, we can detect in his words a certain disenchantment vis-à-vis this "normal design" that he considers unnecessary or needless.
I think any designer who claims to be "eco-friendly" is hypocritical. Even if a chair is produced under certain environmental standards, the chair itself, is not essential. It is therefore more environmentally friendly not to produce a chair at all.
Maarten Baas This remark shows more clearly how their work is not genealogically design and art. He wonders here, as a designer on the statutory duty which is historically vested in his opinion, that produce objects, and found its expiration.
Haunted by inflation of objects that characterizes our affluent societies, he sees the perpetuation of its designer status in the recycling of objects and the production of objects aurata.
Hey flesh, needs a bookshelf! used furniture / epoxy coating
Hey Flesh, needs a bookshelf is enlightening in this respect. Very functional, since the chairs perform the storage function by "destination" object extension tube, an aggregation of the items left out of the consumer society by giving them unique, ostentation and author signature.
Yellow Dining Chair series Treasure Furniture Falls wood / paint e
Series Treasure Furniture follows the same strategy diversion, but from wood scraps from a furniture factory, from standard panels machined to the same production, and therefore strictly identical. Thus, a Yellow flesh Dining is a serial product from another product series.
Zig-Zag chair G. Rietveld series Smoke burned furniture / epoxy coating
With the series Smoke , Maarten Baas does not guarantee the rebus, but appropriates objects heritage identified through a unified aesthetic appearance ... in the act of appropriation calcinant.Cet, thanks to the intervention of the Groninger Museum, He was then transferred repurchased some of its bottom duly charred furniture extends to the more comtemporary.
If he tries to convince us that this is nothing to provoke, but rather a tribute to his predecessors, we note that they all receive the same treatment and have So other than being as its predecessors.
This is a procedure of double-legitimation (which reflects on the artist and the city citator) common in the world of art (found by example appropriationism Sherry Levine), except that the artistic iconoclasm can never threaten the physical integrity (see case Pinoncelli) of the work, since his will is precisely this uniqueness.
No such scruples here ... these objects are not irreplaceable in the eyes of the law and Maarten Baas.
to Top: Cabinet Series SCULPT
in Netherlands: furniture series Clay Furniture
This brief review of work by Maarten Baas confirms that its methods differ in many respects common methods of the designer. It also demonstrates that there are also conform in all respects with the many common methods of the artist.
is in fact a mere permutation in which there remains only the concept of utility itself undermined, as we noted in our analytical framework.
Nothing in the words of Maarten Baas has not truly informed about the rejection of these common methods, apart from its reserve against consumer society.
It is clear however that his proposals are not intended to counteract this situation, since they are positioned behind the economy "normal" through the lavish production of objects to destination for wealthy and educated elite.
If there's next to the design, regardless of the relevance of its position is because he never gives up completely to the function of use.
We are far from having exhausted the significance of work by Maarten Baas, we analyze more deeply the motives and those of other designers at the border in a more general phenomenon of the art design.
A follow Marti Guixe "ex-designer"
sources:
http://www.letemps.ch/horsseries/dossiersarticle.asp?ID=220754
http://www.usign.com/index.php/outsign/marteen-baas.html
http://www.coolhunting.com/archives/2008/04/interview_with_7.php
http://www.dezeen.com/2008/04/10/studio-baas-den-herder-in-milan/
http://www.lexpress.fr/mag/tentations/dossier/design/dossier.asp?ida=460585&p=2
http://209.85.129.104/search?q=cache:5meL3zHpVvoJ:www.blog.homology.com/deco-design/mon-cafoutche/starck/+maarten+baas&hl=fr&ct=clnk&cd=39&lr=lang_fr&client=safari
http://www.blogg.org/blog-8296-billet-_salon_du_meuble_de_paris__13_01___17_01_2005_-92771.html
http://www.maartenbaas.com/
http://en.wikipedia.org/wiki/Maarten_Baas
http: / / www.maartenbaas.behindthedesigns.com/
