Could it
be argued that fine art ought to be assigned more 'value' than more popular
forms of Visual Communication?
There is an argument of value to be considered here, as Fine
Art and Graphic Design are dissimilar to each other because art is deemed more
culturally significant than Graphic Design.
Art is perceived as a high-class culture, which produces lasting value,
where as Graphic design is said to ‘only exist briefly’. The distinction between
the two disciplines is focused around historical and cultural influences, for
instance, fine art takes on a more traditional sense of art; oil paintings and
sculptures are considered unique pieces of art, representing the world at that
time. Architecture is also a form of Fine art, linking to permanent and
practical functions of this discipline. Conversely, Graphic Design in a
historical sense was usually based on advertising in the form of poster designs
also books and magazines were considered transitory and impractical.
‘Heller and
Pomeroy (1997) in their ‘Design Literacy’, suggested that Graphic Design is:
‘Not as ephemeral as the paper it is
printed on.’ (Heller and Pomeroy 1997)
They were pointing out a key fact in acknowledging that some
forms of Graphic design do preserve and poses a sense of permanent culture and
meaning. If a design is printed onto material it can represent a specific value
or period and can be studied, therefore graphic design can be considered as
culturally significant, just as oil paintings within fine art. Contrastingly Raymond Williams (1961)
considers art form a Marxist point of view and argues that art has a function
in a form of ‘observation’, which relates to fine art being for educational
purposes causing an audience to think further or to question the observation.
On the other hand Dan Lacivita (Web Design) suggests;
‘we
are not artists or poets. We are artisans and craftsmen. Our products solve problems.
They do not hang on museum walls.’ In contrast, design is seen as a purpose, as
a way to inform and educate as people can learn from and solve problems.
Many believe the aura of art is what makes it admirable, ‘Clement Greenberg’
– a influential art critic of the 20th century- believed in the necessity of abstract art as a means to resist
the intrusion of politics and commerce into art. Therefore he created a rise in rebellion to
the more traditional sense of art.
In 1992 Damien Hirst opened an exhibition
at the Saatchi Gallery in North London. Hirst's work was titled ‘The Physical
Impossibility of death in the Mind of Someone Living.’ (Figure 1) Within the project Hirst placed a
shark contained in formaldehyde in a vitrine and it was sold for £50,000. The
contempary art had taken on a materialist value and started to change what art
was formally seen as.
While the piece became iconic in the British art world
of the 1990’s, art had become the culture and leisure of the influential
such as hosting ‘The Turner Prize’, fine art has heavily influenced this prize
for years, generating artists such as Tracey Emin to be of particular value.
The term value is perceived in various ways; according to
the dictionary, value precedes this as the first definition;
‘Relative
worth, merit, or importance.’ (English
Oxford Dictionary, John Simpson and Edmund Weiner, 1989)
In many ways I feel that this definition
refers to the discipline contemporary art. With artists receiving prize money
and purchase prizes the art and expression has developed into a source of
income.
According to ‘Clement Greenberg’ (1986:10)
‘No
culture can develop… without a source of income.’ He the goes on to suggest;
‘was Picasso not commissioned by advertising agencies to provide illustrations
for the town Nice and Da Beers Consolidated Mines Ltd?’ (Bogart 1992:157-9).
The point that consists with this matter
is the fact that economics will and always has, inevitably compromised an artist’s
freedom. But does this mean that Graphic
design has no social, cultural or economical value? They are opposite in
certain ways, and if art generates an income and reflects an elite
expressionism, what value does design depict?
Graphic Design is different from fine art because
communication is portrayed instead of developed though expression and
interpretation as it is in art.
“Ock Kinneir + Margaret Calvert’, Graphic
Designers (1917-1994) + (1936-) “ Figure 3,
Produced one of the most
widely spread seen pieces of design. They developed the motorway signs. This specific
design allows design to be of higher value. It is used for a purpose which
creates form and function and develops the idea into a well-known utility.
People try to define the difference between ‘graphic design’ and ‘fine art’ by
saying that graphic design can be re-produced. Ock Kinneir and Magaret
Calvert’s work could be re-produced numerous amounts of times, but as it
stands; they created a design that society values, so therefore it shouldn’t be
seen with less value.
Graphic Design is manufactured for the masses, but that doesn’t’
take away from the skills and systems of conventions which make communication
possible. As it is created for mass
audiences, Graphic Design creates an almost anonymous designer whereas fine art
is focused on a designer and their expressionism. It seems that fine art
creates more of a hype regarding an artist rather then the work produced and it
is seems that as a culture, art idolises it’s famous and elite.
On the other hand design celebrates new forms and
developments. For example, modern design such as the Bauhaus movement from the
Swiss was a new and incredible revelation for design. Design also influences
and creates and economical value to society as it publicises commerce for the
masses, unlike contemporary art’s selective audience.
Although contrasting both art and design makes clear
suggestions and generates opinion, there are some links, which provide us with
the knowledge of equal value. Within each discipline there are certain cross
overs which allow for vivid expression in design and a more contained, general
expression within art.
The graphic designer Stefan Sagmeister has started to
acquire a more artistic exhibition space as well as final products on a larger
scale, using artistic influences and tools. Formally well known for typography
designs and experimentation within type, Sagmeister started to vary with type
and arranged his ideas in a more unambiguous way. Sagmeister piece ‘Banana Wall
‘ (Figure 2) portrayed the text ‘Self-confidence produces fine
results’ using bananas as his only utensil.
Although Sagmeister uses art to further his work, designing
still understates the majority of the work he creates in a detailed and
functional way.
“Now,
it is my understanding that design in the commercial sense is a very calculated
and defined process; it is discussed amongst a group and implemented taking
careful steps to make sure the objectives of the project are met. “ (Article by Craig
A Elimeliah January 13, 2006: Filed Under: Inspiration, graphic design.)
Selecting and highlighting
important information is part of the process of designing. I feel that his
quote highlights this and allows artists to see that designers place their
ideas carefully and purposely to portray a significant point, which will add more
overall value to the work being created. Where as in art,
“No
artist ever has to explain why they did something a certain way other than that
this is what they felt would best portray the feeling or emotion or message”
This defeats the
object of communication from artist to audience. The value of a piece, in my
opinion, should reflect the message an artist or designer is trying to present.
The value of a piece should not be materialistic but it should allow the
audience to relate or be influenced by a project.
Communication is a
key impact for relation of design to an audience and that with design
connecting to a person, emotion and message is clearly portrayed, and therefore
defines the value because the audience can connect. With art, connection is never actually
understood. The value of art, in my opinion decreases, as audiences can’t
relate to certain messages artist’s want to portray.
“A
designer is similar to an engineer in that respect and must not only have an
eye for color and style but must adhere to very intricate functional details
that will meet the objectives of the project. The word “design” lends itself to
a hint that someone or something has carefully created this “thing” and much
planning and thought has been executed to produce the imagery or materials used
for the project. “
To conclude, the value of design cannot be determined by a price. The
value is to communicate and is received by mass audiences. Art traditionally
has a larger value, with expectations that separates art, as a high culture.
I feel that art cannot be assigned more ‘value’ as I don’t believe that
it creates enough interaction and relation to an audience. Fine Art cuts itself
of from culture and develops a specific audience that doesn’t allow for meaning
to truly present itself because the artist becomes too pretentious with the
work they are involved it.
Overall design I feel has more impact on the world than Fine art.
Although fine
Art has
influenced culture and developed social interaction, design will always create.
It creates for society, for advertising, for culture and creates for the masses.
All of which allow design to be of more value then fine art.
Reference:
-(Heller and Pomeroy
Design
Literacy: Understanding Graphic Design - 1997, Publication
Date: August
1, 1997)
- (Bogart 1992:157-9)
- (English Oxford
Dictionary, John Simpson and Edmund Weiner, 1989)
- The
Guardian Newspaper, Available at; www.guardian.co.uk, Article; Damien
Hirst – review - Tate Modern/ Article:
- Quotes on Design – Available at www.quotesondesign.com
Artists:
- Damien Hirst 1965
- Tracey Emin
- OCK KINNEIR + MARGARET CALVERT
Graphic Designers
(1917-1994) + (1936-)
(FIGURE 1) -
The Physical Impossibility of Death in the Mind
of Someone Living (1991)
(FIGURE 2) –
Deitch Projects, Banana Wall
Created:
2008
(Figure 3) –
Google images available on
www.google.com/images
No comments:
Post a Comment