By Christopher Crouch

ISBN-10: 0312218303

ISBN-13: 9780312218300

ISBN-10: 031221832X

ISBN-13: 9780312218324

ISBN-10: 0333642848

ISBN-13: 9780333642849

ISBN-10: 0333642856

ISBN-13: 9780333642856

ISBN-10: 134927058X

ISBN-13: 9781349270583

The cultural techniques of the Enlightenment and the next improvement of commercial cultures proficient the early rules of Modernism and resulted in a global of speedy conversation, quick automobiles and towns packed with skyscrapers and purchaser items. This e-book examines the way visible tradition displays its conceptual and actual origins in elite, and mass, cultural practices. The e-book introduces the guidelines of Modernism and their post-modern evolution in a transparent and interesting argument that hyperlinks the advance of visible tradition to the social and political stipulations within which it really is produced. It establishes key techniques and important phrases of reference on the outset earlier than taking the reader during the evolution of the 20 th century's visible tradition in a full of life and approachable way.

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Example text

The intention, like man y another was excellent; but the fact remains that, except for examination purposes, the work done by Kensington students is useless. A design for a piece of wall paper, for which a Kensington student is awarded a medal, is almost sure to prove abortive when put to a practical test ... That is the pitfall into which the Kensington student falls; he cannot make practical application of his knowledge . i'' Even allowing for the hyperbole that Moore is using to make his point, it is clear that the system devised by Cole was by no means well-lo ved.

This process of course still relied on a notion of what was 'good' and what was 'bad', but the decision -making about such things was slowly becoming more socially dispersed, not just in Britain, but throughout the industrialised world. The great gap between the theoretical and the practical in design was a real one. It was identified by those in the Arts and Crafts movement who filled the gap with guild associations; this approach was taken still further in the 1890s with the establishment of educational institutions teaching integrated design courses.

Sometimes the appearance of an object, its clean geometric lines, belied its impossibility of use. The social context in which art found itself was of great importance to these artists. The ideas of Marx, that the purpose of philosophy was not to interpret but to change the world, found many echoes in the practice of art and design. Many designers saw their role as emancipating themselves, and art practice, from the whims of the history of aesthetics , and in the words of Hannes Meyer 'the art of felt imitation is in the process of being dismantled.

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Modernism in Art, Design and Architecture by Christopher Crouch

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