…And then you look at a Rembrandt, it’s just… You see where you have to go… Miles and miles of work ahead of you… There are other aspects of making a great painting than just the skill involved in trying to be an old master. If you see a technique before the painting, it is a problem. … How could my stuff look different? … I finally discovered plexiglass and I started to paint with ink. It changed everything for me. Underneath this chaotic ink painting that I do, there is a knowledge of a figure… Years of drawing… I have this visual sensitivity… Certain colors together will produce this incredible emotion.
H. Craig Hanna
Inside the Ink-the life and art of H. Craig Hanna, an audiovisual essay by Willy Crank
Existing political, economical, ecological and even social structures are widely questioned. … As a consequence design can no longer only be defined by just technical performance, aesthetics, or creativity. …
Dennis Elbers, London Calling, Dee, Issue 3, 2014
It is still quite rare to see a design exhibition in a museum. But thanks to Dennis Elbers and Sven Ehmann’s initiative, and the sensitive approach to design of Nadine Clemens, the president of Design Friends Luxembourg, it is now possible to see Resolute–Design Changes exhibition at the Casino Luxembourg–Forum d’art contemporain. The projects presented in Resolute and Postscript Luxembourg give us insight into how socially responsible designers approach social problems and how they try to solve them on a bigger scale. What’s interesting is that these designers always work in, with and for a community. Their work is no longer just about staging provocations; it is about involvement and finding solution.
Design for Social Innovation applies the abilities of talented individuals to collective creativity and to the transformation of complex systems at great scale. In this new role, the designer’s practice takes place not in private studio but inside an organisation or community. It the invisible dynamics of individuals and their relationship with each other instead of material resources. Its method and value are in collective participation and creativity that engage organisations in finding solutions that work for them.
An interest in social matters has become a hot topic in the world of design. Dutch design, for example, aims to make an impact on a society rather than show off strong visual concepts. With Works That Work,Peter Bil’ak, a Slovakian graphic and typeface designer based now in The Hague, quietly revolts against the usual magazine publishing models and promotes design that happens in most unexpected places and circumstances. Alice Rawsthorn in Hello World casts light on the new challenges we all face when it comes to solving delicate social issues using design systems. In her book she showcases fantastic examples of projects concerned with communities. Everyday Rebellion documents social movements that speak up against inequality, injustice and fraud. And, last but not least, the V&A curators have recently shown Disobedient Objects, an exhibition which explores the role such objects play in grassroots movements.
Conclusion? Designers and people involved in design fight to be sustainable; they put their efforts in growing something, often intangible, rather than creating objects that you can buy and throw away when obsolete.
Everything made now is either a replica or a variant of something made a little time ago and so back without break on to the first morning of human time.
Georg Kubler, The Shape of Time
I have recently seen, long expected, documentary from Mu-Ming Tsai MAKER and it inspired me to have a closer look at the maker movement. I was wondering how and why they became so popular in the US and what are the opinions about the movement outside the makers circle. In this post I gathered quotes from the Form Design Magazine based in Frankfurt, The New Yorker Magazine and MAKER documentary. I also felt Esther Pasztory’s Thinking with Things: Toward a New Vision of Art would give a dipper understanding of the phenomenon. I see the maker movement as a gathering of creative and independent people in action. The makers connect to the physical world around them. They look for self-respect and the possibility to decide for themselves. The makers are not consumers. They are ordinary people who, with some powerful tools at hand, can make a difference.
The maker movement, as we know, is an umbrella term for independent inventors, designers and tinkerers. … Makers tap into an American admiration for self-reliance and combine that with open-source learning, contemporary design and powerful personal technology like 3-D printers.
Time, Why the Maker Movement is Important to America’s Future by Tim Bajarin
The Maker Movement as being the web generation meets the real world. It is the tinkerers, the do-it-yourselfers, the hobbyist, the workshops of the world, now working together online and using digital tools to do something that none of them could do by themselves. Let’s say the first industrial revolution was the mechanical revolution. 1700, the replacement of muscle power with machine power. The second industrial revolution was the information revolution. But this was not the creation of the computer, but rather the democratisation of the computer. … The third industrial revolution is just a combination of the two. The information revolution meets the mechanical machine manufacturing revolution. And, the reason it’s happening now is because that essential democratisation movement has finally kicked in. It’s not enough to invent technologies, they have to be put in the hands of everybody … it liberates the ideas and creativities.
Chris Anderson, C.E.O. 3D Robotics, Maker
An anthropological view on the material culture.
All things are related to each other in a vast chain of formal transformations. It is not as simple as the nineteenth-century writers thought, developing from naturalism to abstraction or vice versa.
Between levels of different social integration there are major dislocations and reformulations in material culture. I suggest that two processes are at work: translation and innovation. Innovation is almost always necessary at times of change and may effect both the type of object and its style. Innovation can be very sudden and dramatic. Translation is the term I prefer for the continuous reinterpretation of forms which have in them at least as much change and innovation as is often necessary to translate a statement from one language and context to another. Through a process of translation, a form may last many hundreds of years, but the relationship may be unrecognisable in terms of its appearance.
Althogether, “things” need to be reevaluated against other technologies such as writing and media. In fact, they all need to be looked at together as parts of a systemic and changing whole. This rises basic questions about things and how we relate to them biologically, functionally–and, yes, even aesthetically. Humankind has existed without writing and media for a long time but thinking with things goes back to Kubler’s “first morning”.
Esther Pasztory Thinking with Things; Toward a New Vision of Art
Although, the maker movement is a fascinating concept not everyone seems to be impressed by it. Stephan Ott from the Form Design Magazine has a rather critical view on the makers community.
There is talk of a culture even a movement of “makers” who are revolutionising design, as cheap production of spare parts and small production is no longer a problem. But a cursory look at design history is enough to at least temper any such notion of revolution.
Whether in film, music or writing, it has always taken professionals to shoot, compose and formulate coherent content. This need still applies, and the availability of widely affordable 3D printers will not alter that: good products will continue to depend on a design file produced by a professional designer. There is nothing wrong with the maker community — essentially an amalgamation of the long-established do-it-yourselfers movement and the hacker scene. But one thing must be kept in mind: even by their own self-definition, makers are tinkerers and hobbyists, but not (yet) designers.
Stephen Ott Wohin der Wege? Designer 2014, Designer Quo Vadis?, Form Design Magazine Nº 251
Finally, in Making It: Pick up a spot welder and join the revolution Evgeny Morozov touches on a slightly darker and more complex side of the maker movement.
The maker era might not be upon us yet, but the maker movement has arrived. …
Like the Arts and Crafts movement–a mélange of back-to-the land simplifiers, socialists, anarchists, and tweedy art connoisseurs–the makers are a diverse bunch. They include 3-D-printing enthusiasts who like making their own toys, instruments, and weapons; tinkerers and mechanics who like to customise household objects by outfitting them with sensors and Internet connectivity; and appreciators of craft who prefer to design their own objects and then have them manufactured on demand.
Each of these groups has its own history. What turns them into movement is the intellectual infrastructure that allows makers to reflect on what it means to be a maker. …
Then there are the temptations facing the movement. Two years ago, DARPA–the research arm of the Department of Defence–announced a ten-million-dollar grant to promote the maker movement among high-school students. DARPA also gave three and a half million dollars to TechShop to establish new makerspaces that could help the agency with its “innovation agenda”.
Mark Hatch (C.E.O. of TechShop), for one, shows no concern that proximity to power might compromise his movement’s revolutionary potential. “Now, with the tools available at makerspaces, anyone can change the world,” he writes in The Maker Movement Manifesto. “Every revolution needs an army… My objective with this book is to radicalise you and get you to become a soldier in this army.” How radical is Hatch’s project? At the start of the acknowledgements that open the book, he thanks Autodesk, Ford, DARPA, the V.A., Lowe’s, and G.E. His talk of becoming an army soldier may not be a metaphor. … Hatch and Anderson (C.E.O. of 3D Robotics) alike invoke Marx and argue that the success of the maker movement shows that the means of production can be made affordable to workers even under capitalism. … But both overlook one key development; in a world where everyone is an entrepreneur, it’s hard work getting others excited about funding your project. Money goes to those who know how to attract attention. Simply put, if you need to raise money on Kickstarter, it helps to have fifty thousand Twitter followers, not fifty. It helps enormously if Google puts your product on the first page of search results, and making sure it stays there might require an investment in search-engine optimisation. Some would view this new kind of immaterial labour as “virtual craftsmanship”; other as vulgar hustling. The good news is that now you don’t have to worry about getting fired; the bad news is that you have to worry about getting downgraded by Google.
Hatch assumes that online platforms are ruled by equality of opportunity. But they aren’t. Inequality here is not just a matter of who owns and runs the means of physical production but also of who owns and runs the means of intellectual production–the so-called “attention economy” (or what the German writer Hans Magnus Ezensberger, in the early sixties, called the “consciousness industry”). All of this suggests that there’s more politicking–and politics–to be done here than enthusiasts like Anderson and Hatch are willing to acknowledge. For Anderson, such innovation is prelude to a great business: when hobbyists cluster together to work on obscure technologies, someone eventually gets rich. But it’s misleading to view the Homebrew Computer Club solely through the prism of innovation and entrepreneurship. It also had, at least at first, a political vision.
Evgeny Morozov, Making It: Pick up a spot welder and join the revolution, The New Yorker, Jan.13, 2014
Typography is not only for reading and must not be a pain. Typography can be a game and a lot of fun.
At the beginning of September I went to see Weingart Typografie at the Museum of Design in Zurich. I spent a couple of hours there looking at his work and the work made by his students. And, while I was sketching and taking notes, all of a sudden, Weingart entered the exhibition room and I said hello and he looked at me and asked me if he had taught me…
On my way out I bought a copy of 30 Years of Swiss Typographic Discourse in the Typogrfische Monatsblätter: TM RSI SGM 1960-90 published by Lars Müller Publishers. Typogrfische Monatsblätter was a typographic journal that became a discussion platform for professionals in the field of typesetting and printing.
In “Typografie ist eine Kunst für sich” from 1973, Tschichold called typographical game playing a hybrid decadence, stressing that a good typographer, unlike the self-aggrandising graphic designer, never actually feels free, he does not play, but rather follows the considerations of his reason.
30 Years of Swiss Typographic Discourse in the Typogrfische Monatsblätter, p.134
Is this typography worth supporting, or do we live on the moon? Typography is not dead, yet! But its effect is undoubtedly anaemic and vague. But, by and large, it is intact, it is definitely less than ever a practical skill. Instead, it endures as an intrinsic necessity. Typography lives! It is not regarded with the primacy of perhaps 10 or 20 years ago, and is comprehended less as a “picture”, but rather, more as a “text”. Nevertheless, it remains a prominent element of “visual communication”: indispensable, and occasionally fresh, even original.
Peter Kornatzki, 30 Years of Swiss Typographic Discourse in the Typogrfische Monatsblätter, p. 157
As for the exhibition, it is a thoughtfully organised space that shows Wingart’s practice as a constant search for solutions. It shows clearly his regard for process-oriented work.
I was not interested in a single result, but in the research. I was interested in process-oriented teaching…
At the Basel School of Design they try to bring out in people a kind of intuitive approach to making things visual, whether it’s typography, or drawing, or whatever, and help them find ways of analysing what they’re doing while they’re doing it.
Hamish Muir, 30 Years of Swiss Typographic Discourse in the Typogrfische Monatsblätter, p. 169 (originally published in Heritage, Emigre, no.14, 1990)
…but one of the important things I learned from him was how to work; a healthy process. It was more of a process of discovery and exploration than of trying to make something that looks like the teacher’s or anybody else’s work. When he gave an assignment, he would encourage us to work on 20 different iterations all at the same time. I found that method very useful. …They may all be good solutions, but maybe only one is really appropriate. I think that is the strongest thing I learned from Weingart: a playful, beginner’s-kind-of Weingart mind.
In my search for information about Herr Weingart I found out that he liked listening to Bruno Walter’s rehearsing Mozart’s Linz Symphony.
While working on the week ends in the typeschop at the school, Weingart often wheeled out a reel-to-reel tape recorder, and played the music of German composers–Wagner, Bethoven, Mozart–would accompany his labour. One of his favourites was a recording of a legendary orchestra conductor Bruno Walter rehearsing Mozart’s Linz Symphony in which Walter implores his musicians to share his grasp of a particular passage as a “shimmering”. The same could describe Weingart’s body of work. His typographic vision embodies a similar vitality and richness. It shimmers.
Wolfgang Weingart’s My Way to Typography is a publication that accompanies the exhibition. It is an interesting read for anyone involved with art, design or typography. Keith Tam and Stuart Bailey, among others, wrote about the book and it is striking how contrary their opinions were on Weingart’s practice, the design and the content of his book. Either you love it or hate it, I guess.
[hlysnan] in old English means to listen with intention and attention. The exhibition and the publication titled [hlysnan] The Notion and Politics of Listening prepared by the curators Berit Fischer and Kevin Muhlen for the Casino Luxembourg – Forum d’art contemporain presents sounds that inspire to reflect on spatial and sociopolitical relations. The selection of recordings presented in the Casino carries meaningful messages that examine usually unexplored territories, like the impact of drone surveillance on civil communities in FATA, the voice as a tool to gain position in society, historical speeches as a source of recreation of history, the concept of mimesis as resistance, etc. As for the publication that accompanies the exhibition, it is a conceptual piece that records some aspects of work made by sound artists who take part in the [hlysnan] project. The book contains, among others, a very interesting essay by Peter Cusack who is a ‘sonic journalist’ and records sounds in dangerous places like Chernobyl. Anther essay worth mentioning is a piece about the linguistic diversity under threat of disappearing by John Wynne.
The exhibition focuses rather on sound than an image. There is a sense of emptiness in the rooms which enhances the experience of listening. The artists invited by the curators presented powerful projects that made me listen and think about some of the aspects of sociopolitical dependencies I didn’t realize existed. The curators wanted as little visuals as possible. For me that was an invitation to produce some drawings. The images below are some of the drawings I made while listening to the recordings in the Casino Luxembourg.
The sonic bleed of a circling drone that one cannot necessarily see, but hear, is a constant reminder that a deadly strike may come at any time, quite literally out of the blue.
Subliminal Projection Company is an experiment to transduce memories of the artist to the visitor. The method applied — subliminal text concealed under nature sounds — imitates the self-hep CDs that are widely used in the hope of effortless self-improvement. Instead of the inspirational self-improvement messages, Menick infiltrates recollections of his childhood.
The future’s past has caught up with itself. In the Citadel residents are equipped with special auditory mechanisms for acute hearing. Communication has been stripped down to its most basic level; the voice and its aural residuals. Here, voice recognition technology controls the flow of social exchange. The Interlocutors of the Citadel control the social order as well as the very limited resources of life. The voice is the key to pass. The Interlocutors guard vocal codes with full authority. Those in the half-light exist on the periphery without access.
We’re culture that is always looking for that other message, always looking for that new arrangement.
Cloude Levi Strauss The Strange Mind
The last couple of weeks I spent on reading about brands and branding, about material culture and self-transformation. I have also visited NEVER FOR MONEY ALWAYS FOR LOVE exhibition and had a chance to listen to Bruce Duckworth’s lecture on packaging design. The lecture inspired me to go back to a series of interviews from Brand Thinking by Debbie Millman and Chief Culture Officer by Grant McCracken. I also went to London to see CONSUMPTION at the V&A. And, the whole thing in this post is an interesting mix of different aspects of our material culture.
Design has successfully established itself-so much so that it has become an and in itself, something more than just a tool to boost sales; rather, it creates “meaning” and becomes the actual purpose of buying. … Good designers must be part-sociologist or “social seismographers”: they must be in close contact with the needs, desires and fantasies of society. … but design can make important contributions to help change people’s mentalities. Design is linked to daily life, its gestures and objects-and this is precisely the terrain on which profound social changes operate. If, in the past, design has helped to circulate the consumerist lifestyle, it can now in turn prepare the minds to accept a less predatory relationship to our natural and social resources-a relationship where the physical appearance of objects is not continually offered up to value and money. At the same time it can contribute to a more playful relationship to life in which not everything must necessarily be seen under the angle of power, wealth or self-affirmation, and where ‘gift’, ‘sharing’, and ‘free’ are not empty words.
Design, the ultimate stage of capitalism? by Anselm Jappe, philosopher and essayist
I think of brands as bundles of meaning and branding as a process of meaning manufacture and management. Branders find meaning in our culture and invest this meaning in brands.
CONSUMPTION, the fifth cycle of the Prix Pictet (the global award in photography and sustainability) at the V&A, London
We are all consumers. We have invented new forms of building, industrial production, farming and energy; we have emptied the seas and ravaged the land in our relentless drive to satisfy our unquenchable desires. We have at times sustained our appetites through the exploitation of the world’s poorest people. The consequences of our voracity are everywhere for us to see. We override the eternal cycle of the seasons to be sure to satisfy our daily cravings. Even our basic needs are now commoditised; we crave things we didn’t know we needed and which quickly become obsolete.
My favourite selection of photographs was scanned objects by a Chinese artist Hong Hao. For twelve years he’s been scanning objects he consumed. Hong Hao created a visual diary of things, a unique and personal inventory that attempts to question the culture of consumerism.
I do not have patience to admire beauty in itself–skilful eye or hand. I prefer failure to mastered perfection… I am not interested in showing-off accomplished forms anymore. I enjoy, instead, playing with a language I do not know yet.
Henryk Tomaszewski,editor Agnieszka Szewczyk, translation Kinga Kowalczyk
I have recently visited Zachęta – National Gallery of Art in Warsaw where Henryk Tomaszewski’s graphic work is on show till 10th June. The exhibition and the work of the leader of the Polish Poster School was a revelation and a fortunate coincidence. In this post I used some of the photographs I had shot in the gallery, fragments of the exhibition catalogue, Steven Heller’s article for the New York Times (2005) and one of the episodes of the Polish Film Chronicles (1978).
Even when he made a poster to advertise another artist’s exhibition, Mr. Tomaszewski interpreted the content. For example, to announce a 1959 show of Henry Moore’s sculptures, he created a veritable sculpture garden from the letters of the artist’s name and placed Moore’s “Mother and Child” on a pedestal made from the “O” in Moore. But this handling of the subject was not just a flagrant personal conceit; Mr. Tomaszewski succeeded in showcasing the salient features in Moore’s work that were akin to his own.
PKF – Polish Film Chronicle, a 10 minute long newsreel, was part of the official information media in the communist Poland. I decided to use one of the episodes here to give a feel for the times in which Tomaszewski lived and worked in.
“Politics is like the weather,” he once said, “you have to live with it.” His art benefited from this resistance, since he was forced to come up with concealed satiric images in his work. He stayed clear of overtly political issues and focused entirely on designing posters for cultural institutions and events.
The Typorama finished a couple of weeks ago and I am still thinking about the walls of the Museum of Decorative Arts in Paris filled with Apeloig’s fonts, Metro-size posters and the music used for his animations composed by Barbatuques, Iannis Xanakis, Maurice Ravel and Laurent Rochelle, among others. Typorama, the exhibition and the catalogue, presents the panorama of Philippe Apeloig’s work which is conceptual, functional and artfully crafted.
For me, the most important thing in the exhibition were Apeloig’s sources of inspiration, his Jewish roots, the fact that his grandparents came from Kazimierz Dolny in Poland, his fascination with movies like, 8 ½, Orfeo Negro and Battleship Potemkin.
The way Philippe Apeloig presented 30 years of his work made me think of Alexander Dorner’s “Atmosphere Rooms”.
Across the Atlantic, the German curator Alexander Dorner was experimenting with a different approach to explaining the relationship between art, design and architecture as director of the Landesmuseum in Hanover. Since the mid 1920s he had used pieces from its archive to depict the cultural history of particular eras by creating what he called “Atmosphere Rooms”. The grand finale was the Raum der Gegenwart, or Room of Today, for which Dorner commissioned Moholy-Nagy to create an immersive sequences of images depicting glimpses of contemporary art, architecture, design, theater and sport with screening of experimental Soviet films including Sergei Eisenstein’s “Battleship Potemkin” and Dziga Vertov’s “Man with a Movie Camera”.
Alice Rawsthorn, Hello World
In this post I gathered some quotes and images which are glimpses of culture, design and art that I wanted to dedicate to Monsieur Apeloig.
I begin with a small town in Poland, Kazimierz Dolny. Then I move on to Malevich’s Black Square, Dutch Design, Wolfgang Weingart’s Line Pictures for Armin Hofmann, Phillippe Petit’s tightrope walking at the World Trade Center in 1974, and, finally, Pina Bausch’s Nelken from 1982.
Kazimierz Dolny in Poland used to be a place of two cultures and two religions, Catholic and Jewish. They existed next to each other till the Soviet and German occupation almost wiped the Jewish out of the town, out of the whole country. But, there are people, young people who want to remember that Jewish culture influenced Polish culture and that it is an important part of our heritage.
Jaśmina Wójcik is a Polish multimedia artist. In 2011 she created the acoustic walk around Kazimierz Dolny. It was a project with audio guides in which she used stories about Jewish that don’t live in Kazimierz any more, but are still present in the memory of its inhabitants.
…the acoustic walk around Kazimierz Dolny consists of prints of Jaśmina Wójcik’s drawings hung on the facades of houses. The drawings are the central part of the project, and create the points on the walk’s map. The path is created by places – existing or not – where Jews used to live (e.g. the cheder, the mikveh, the Tzadik house, the synagogue, the kosher slaughterhouse). Each participant gets an MP3 player, a map and an instruction. The MP3 player becomes a personal guide.This is a personal and alternative way of touring around the town–through something that does not exist anymore, or what remained in a very small scale. Yet it constitutes a very important part of the town’s history and heritage. The project aims at creating a universal message relating also to contemporary events. In their headphones the participants hear real memories of the pre-war life in Kazimierz Dolny (archived by Bożena Gałuszewska and the Brama Grodzka Center – NN Theatre in Lublin). The town used to be bicultural – Poles and Jews where neighbours here. After WWII the Jewish community vanished completely. The project is an expression of memory about them. Of respect. Of preserving their presence… of their metaphysical return…
The Last Futurist Exhibition 0.10 in 1915 … the placement of the suprematist paintings suggested the way icons were hung; … Black Square, which was, with total explicitness presented as an icon, or rather, in the position of an icon.
Van Doesburg’s upper-case alphabet was constructed from vertical and horizontal slabs of the same thickness and could be stretched vertically and horizontally to force texts to fit any format. Neither aesthetic nor legibility were major considerations, and the assumption that conveying information is a primary objective of typography as of marginal concern. Perhaps Moholy-Nagy was referring to Van Doesburg when he wrote that ‘clarity is the first prerequisite of all typography. For the sake of legibility the message must never suffer from a priori aesthetics. The letter types must never be forced into a pre-planned form, for instance into a square’. Yet, as demonstrated by the cover for the published 1920 Antwerp lecture Klassiek Barok Modern, Van Doesburg could use his alphabet quite effectively.
Dutch Graphic Design: A Century of Innovation by Alston W. Purvis andCees W. De Jong
Not able to sit still during Hofmann’s class for an entire day, and to avoid having to draw lines with a ruling pen, I found refuge in the typeshop. There I was in my element. In a thin, square slab of wood I drilled one hundred holes, a grid of ten by ten, into which I then screwed one hundred L-hooks. With this construction it was easy to turn and twist the hooks into any desired direction or pattern. The technical problem of designing the Line Pictures for Hofmann was solved. By securing my construction in the bad of the letterpress I could print many variations by adjusting the height of selected hooks to the exact height of standard metal type. The hooks of the grid not intended to print were screwed deeper into the wood, too low to be inked by the rollers.
Tightrope Walking at the World Trade Center, New York, 1974
Petit was charged with disorderly conduct and criminal trespass and received a quick sentence doing a free show for children in Central Park.
What inspires me is the fact that I learn how to stop to look at things at one point. You need to learn how to seek, not to look and then you’ll refresh your eye, then you can meditate more about what you can do. That’s the way to find the best inspiration. … It has to be playful.
Interesting design doesn’t exist to serve the purpose of a device but to exceed it by pure representation. In borderline case, the purpose becomes pure form. A designed object is successful when its daily use becomes a cultivated habit. Habit, unlike purpose-driven assistance, is an end in itself.
About Authorship, Beat Wyss, Some Book: Graphic Expressions between Design and Art
We are living at a time when once-familiar objects are disappearing from our lives. Any product is at risk if its function can be fulfilled as effectively by the software or a digital device like a smart phone or tablet that can do numerous other things too. Those imperilled objects will only survive if they offer us something enticing that eludes their digital equivalents, whether it is aesthetic, sensual or functional.
Life in Design (Irma Boom’s books) by Alice Rawsthorn, Frieze Magazine
Innovation is the highest priority. You have to have a reason to make a new piece. You have to look at a product from another angle, give something to the design profession, or innovate on a material level, or innovate on expression.
Design and art can meet at the working level by turning the act of observing or using beautiful things into an act of sense-making. …
… Works of art tend to be unique; the design object has the largest possible circulation. … The work of art personifies absolute exchange value, like money, while its utility value is restricted to being decorative and making us think. Compared to that, the design object claims to have practical utility, even if it remains unused, …
About Authorship by Beat Wyss from Some Book: Graphic Expressions between Design and Art
Seeing is Knowing is Making
The artist’s work consists of organising, crafting, and framing the information in such a way that it gives back to the viewer or reader reality in an altered form. …
One might say that it reveals the true nature of things by exhibiting the relationship between things.
False Flat: Why Dutch Design Is So Good (about Irma Boom’s work) by Aaron Betsky