But what is at the bottom of this anxiety that drives artists to abandon safe traditional techniques and certain markets, and to sell mass-produced articles in shops and not in galleries?
It is probably the desire to get back into society, to re-establish contact with their neighbours, to create an art for everyone and not just for the chosen few with bags of money. Artists want to recover the public that has long ago deserted the art galleries, and to break the closed circle of Artist-Dealer-Critic-Gallery-Collector.
They want to destroy the myth of the Great Artist, of the enormously costly Masterpiece, of the one and only unique divine Thing.
They have realized that at the present time subjective values are losing their importance in favour of objective values that can be understood by a greater number of people. And if the aim is to mass-produce objects for sale to a wide public at low price, then it becomes a problem of method and design. The artist has to regain the modesty he had when art was just a trade, and instead of despising the very public he is trying to interest he must discover its needs and make contact with it again. This is the reason why the traditional artist is being transformed into the designer,and as I myself have undergone this transformation in the course of my working career I can say that this book of mine is also a kind of diary in which I try to see the why and wherefore of this metamorphosis.
I970
BRUNO MUNARI引自第12页
作者对装饰的嘲讽会让人想起奥地利建筑师 阿道夫·卢斯(Adolf Loos,1870—1933)的《装饰与罪恶》，而对设计的民主立场也让人不难想起瑞典的现代设计，在 安德鲁·迪克森 主持的纪录片《斯堪的纳维亚艺术》里，瑞典并没有跟随现代艺术的潮流，而是转而沿着民主设计的道路发展，从30年代支持先锋建筑师的集合住宅，到宜家家居，很好的说明了Design as Art, 不只是作为艺术的设计，而是设计在某些方面取代了原来的艺术，艺术以设计的方式存在。
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