The Struggle for Utopia

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• In the early 1820s, when the Comte Hneri de Saint-Simon first conceived of the artist as a social visionary, allied in an elite triumvirate of leders with the scientist and the industrialist, he defined a role for the artist that has remained an elusive ideal ever since. ..... The aim of developing this relationship was central to a newartistic social avant-garde. Here we can think of the Futurists' desire to express the speed, cacophony, and simultaneity of everyday life in their art as well as to extend their sensibility to typography, furniture, interiors, and even the design of cities. The Expressionists were not similarly oriented to design,but they too sought an engagement with life as did the Dadaists in Berlin. Artists who believed in the principles of De Stiji and neoplaticism, no... (查看原文)

  keswickblue 2013-04-24 18:32:18

• 对于罗德琴科来说，设计不是美学的间题；相反，它是意识形态、理论和实践因素的综合体。目的、技术和材料相结合，形成了物品生产的政治过程。通过这一过程，罗德琴科设定了特定的价值目标，他坚信那是真正的无产阶级的目标，而其他人的价值目标则不是。 (查看原文)

  Grit 2021-07-12 22:30:06

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