Leseprobe
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The Confusion between Art and Design
Tsion Avital
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Geisteswissenschaften, Kunst, Musik / Kunst
Beschreibung
In the past century the borders have blurred between art and design. Designers, artists, aestheticians, curators, art and design critics, historians and students all seem confused about these borders. Figurative painting was reduced to graphic design while still being called 'art'. Figurative sculpture was reduced to nonfunctional industrial design while being called 'sculpture'. This fundamental blunder resulted from total misunderstanding of the concept of "abstraction" by the founders of modern art. Comprehensive analysis shows that so-called "abstract art" is neither abstract nor art, but a very simple, even trivial, kind of design.
In this book the prehistoric, philosophical, logical, historic and religious sources of the confusion between art and design are analyzed.
A new and coherent conceptual framework is proposed, to distinguish between art and design. Nearly one hundred distinctions, contradistinctions and comparisons between art and design are presented, showing clearly that they are totally independent domains.
Philosophy of art books are written by philosophers for philosophers, not for artists and designers; therefore they are irrelevant for the latter, especially for students who normally lack the necessary conceptual training. This book is not only for theoreticians but for art and design practitioners at all levels. This is a new kind of book: an illustrated philosophical book for the art and design world, which can make philosophical knowledge accessible and useful for solving real problems for designers and artists who are mostly visual rather than conceptual thinkers. The book contains over two hundred images; thus art and design people can easily follow the arguments and reasoning presented in this book in their own language; images.
Lack of distinction between art and design harms both. Design is contaminated by the ills of modern art, while modern art cannot recover from its current stagnation whilst under the illusion that it is actually art rather than design.
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Islamic art, Caro, recursion, Anish Kapoor, connectivity, Vermeer, Stella, Modernism, class, contemporary art criticism, indeterminism, structuralism, Malevich, containers, fraudulence, industrial design, mutual exclusiveness, hand tools, visual communication, Tintoretto, Rembrandt, camouflage, inner space, disguise, sign versus symbol, iconoclasm, exclusion relations, holonomic, asymmetry, disconnectivity, architecture, The fallacy of affirming the consequence, code and fashion, Leonardo da Vinci, Merle, Parmenides, singularity, Kandinsky, self-reference, Heraclitus, Michelangelo, Soulages, graphic design, hierarchy, prehistory, Munch, Philippe Starck, abstraction, embedding, processors, prehistoric tools, image as substitute for object, reference, mind tools, paradigm, open endedness, connectors, prehistoric figurines, animal art, holon, extension of inner space, falseness of modern art, incompleteness, brain tools, Christian art, Duchamp, systemic versus discrete, terra-cotta army at Xian, serial order, extension of hand, inclusion relations, natural design, Magritte, Oldenburg, van Baburen, systemic, tiling, Jewish art, object versus symbol, randomness, style, body tools, recurrence, Roberto Sambonet, levels of reality, Armand, complementarity between art and design, van Meergeren, dissectors, metaphor, tèchne, Jizo statues, Kantian philosophy, symbol-systems, determinism, extension of skin, tools as art, prehistoric art, closed endedness, prehistoric design, representation, Pollock, self-embedding, classification, virtual design, symmetry, Monet, Plato's Metaphysics, Rodin, object versus photo, fashion, Cultural anthropology, Mondrian, Mathematical art, Holbein, network structure, Jewish design, Aesthetics, grouping, phenomenal reality, serial