Modern Vision

In Walter Benjamin’s ‘The Work of Art in the Age of Mechanical Reproduction’ he states that, “to an even greater degree the work of art reproduced becomes the work of art designed for reproducibility. From a photographic print, for example, one can make any number of prints; to ask for the ‘authentic’ print makes no sense.”

Many people would agree that art is the creation if something that effects our emotions, senses, perception and understanding. Benjamin argues that art is unique in time, space and history. “Even the most perfect reproduction of a work of art is lacking one element: it’s presence in time and space, its unique existence at the place where it happens to be.” Through the authenticity of the art work an ‘aura’ is created. The viewer is able to understand this work of art by the feelings and engagement it generates within them.

I agree with Benjamin’s statement to a certain degree. With today’s modern technology anything can be copied or replicated. The aura Benjamin talks about is lost with mechanical production. With the original piece of art, the history, aura and symbolic meaning is kept where as it can be lost through copies. Because of the efficiency and availability of technology, replicas and copies are easily accessible and affordable. Therefore, it makes sense to purchase or create a copy. This however does not make the original or “authentic” art work any less important. It is still an important part of history, we can learn a lot about the context of the work or the processes used to create it. Prints of famous and historic paintings and photographs are readily available worldwide which means more people have access to them and can get aesthetic value from them. They may not be as valuable as the original but this does not mean they are any less important to the owner. I disagree to an extent that the aura is lost through a copy. The aura one feels when viewing a piece of art may not come from the art work itself, but perhaps from the memories it generates or thoughts it provokes.  

For example, a print of the photograph Le Baiser de l’Hotel by Robert Doisneau was given to me by my French host family. It is a very famous photograph and although it is not the authentic, it still creates an aura every time I look at it. It brings back many memories of time and place and I can appreciate the beauty of the photograph and imagine the aura that the original must create. Photography is capturing a single moment or in some cases, a series of moments. These moments are ‘real’; they represent what the human eye sees it that particular moment in time and space. Photographs show us what sometimes goes unnoticed or unseen. It is an exploration of our perception.

Le baiser de l'hotel - Robert Doisneau

Design and Craft

Lady of the wood - David Walker

Before the nineteenth century, craft consisted of making objects out of necessity and people relied on making objects for functionality. Every object was made with hands, using physical human skills, creativity and patience, as there was no technology or automation available to make anything mechanically. Since industrialisation, the need for hand made crafts diminished and gave way to factory produced goods. This gave people the opportunity to pursue craft as a hobby and as an art form to please their senses and express themselves creatively. Today craft continues to be a hobby for many people but it has also become a recognised art form and is appreciated for its aesthetic value similar to that of fine art. Craft has become an important part of design as many designers create their pieces by hand which requires extreme skill and diligence.

Alaskan carpenter David Walker made the above dress entirely out of all-American timbers. It is made from mahogany and lacewood with 52 strips of maple and cedar for the skirt, the wig is made out of wood shavings. This design won the supreme award at the World of Wearable Arts show in 2009. This shows how design and craft has progressed through time and I think it is a great example of how contemporary craftsmanship is internationally recognised.

Beauty and Utility

In the 1865 publication of The Grammar of Ornament Owen Jones states that “Construction should be decorated, decoration should never be purposely constructed.” His belief came following the Industrial Revolution in Britain in the late eighteenth century. During this time there was a huge expansion of mass industrial manufacturing following the vast increase in population and economic growth. Consequently, the value of hand made, smaller scale goods diminished and the newly established middle class gained access to goods which emulated those of the upper class. There became a blur between the upper and middle classes and Jones’s idea reflects the need to re-define the separation. This lead to a set of principles, standards and models for manufacturers and designers to follow. Jones along with other design reformists including Pugin believed that design should be functional and simple and unnecessary embellishment and decoration should be avoided.

The light stands At Your Demand by Daniel Loves Objects pictured are an example of “decoration constructed”. They are purposely made to look like a person, which goes against the true principles of the design reformists such as Jones and Pugin. The shape and movement that is created is an imitation of human nature.

I have come to disagree with the idea that construction should be decorated and never purposely constructed. Without the construction of decoration design as we know it would not exist. I think that more refined and simplistic designs have become a matter of taste and preference, not related to the social classes which are harder to define in today’s society. If everyone stuck to Jones’s idea the evolution of design would be strictly limited. People wouldn’t be able to express themselves as much or push design boundaries which are what create conversation and debates. I think that a lot if design today is purposely created as decoration and taking that away is like taking away a designer’s creativity and purpose. 

What is "Sensuous impulse" in design?

Arkiane Fireplace

Both straight lines and curves are prominent throughout design history especially in the Rococo and Art Nouveau era. Expressive and flowing curves seen during this era break away from the geometric shapes and structural lines used in the Classical era. Sensuous impulse in design throughout the Rococo era embodied expressive, curvaceous form inspired by nature. These designs however were expensive and somewhat dysfunctional. Today the idea of “form over function” is behind us and the range of materials available is extensive. The sensuous impulse or  "s-curve" can be seen today through a variety of contemporary designs and genres. 


The fireplace above is molded into the curved and aesthetic shape, influenced by the true form of a flame. This  is an example of how the sensuous curve in modern design can be functional, innovative, and appealing whilst also serving as a piece of wall art. 

Eco-friendly fashion

 

Long before the term “sustainable fashion”, recyclable clothing meant donating old clothes or searching through racks of used items to find a bargain. Today, fashion has become stylishly green and consumers are becoming more eco-conscious. The concept of fashion is universally appealing and a part of everyday life. We are continuously exposed to new trends and for a lot of us; fashion is something that defines who we are. Today, eco-friendly fashion is becoming increasingly popular. People are now able to purchase clothing and accessories that are unique, functional, fashion forward whilst being environmentally friendly. Today consumers don’t want to buy these items just because they are eco-friendly; they want to buy them because they follow trends you’d see on celebrities or on the runways, AND they have the added bonus of minimal environmental impact.