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John James Marshall thesis.pdf - OpenAIR @ RGU - Robert Gordon ...

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explores the work of artists 39 acting as designers and does not consider the<br />

reciprocal view of designers making works of art.<br />

Conversely, in the paper ‘Art in the Context of Design/Design in the Context of<br />

Art’ - Troels Degn Johansson (2006) sets out to examine the practices of artists<br />

and designers reciprocally operating across this disciplinary distinction.<br />

Johansson makes use of the Copenhagen-based art collective Superflex and<br />

points to their nomination for a design award for their development of a soft<br />

drink brand (Guaraná Power!) as an example of art in the context of design.<br />

This project was supposed to grow an alternative market for guarana bean<br />

farmers in the central Amazon region after a drinks producer made prices on<br />

guarana beans crash because of their monopoly of the market. Johansson<br />

points to the project ‘The Directorate’ by another Copenhagen-based group<br />

RACA as an example of design in the context of art. This project involved green<br />

pillows (two hundred produced by RACA) marked with a logo (that resembled<br />

The City of Copenhagen’s municipal logo) being placed on public benches by the<br />

designers dressed as municipal workers. These benches were cleaned and<br />

stolen pillows replaced twice a day for a fortnight.<br />

Johansson asks why artists, designers, critics and theorists maintain, develop,<br />

or reject the traditional distinctions between art and design. He indicates a<br />

reoccurrence of avant-garde tactics among artists emerging the mid-1990s<br />

onwards and cites Nicolas Bourriaud's ‘Relational Aesthetics’ (coined in 1996)<br />

as a means of understanding the work produced by artists and designers whose<br />

work is concerned with political and social matters.<br />

“Relational aesthetics is a theory of aesthetics in which artworks are<br />

judged based upon the inter-human relations which they represent,<br />

produce, or prompt.” (Bourriaud, 2002, p.112)<br />

Johansson refers to this ethos as the ‘relational avant-garde’. He indicates the<br />

39 Richard Artschwager, Barbara Bloom, Scott Burton, <strong>John</strong> Chamberlain, Ian Hamilton Finlay, Dan Flavin, Bryan<br />

Hunt, Donald Judd, Sol Lewitt, Jorge Pardo, Tom Sachs, Joel Shapiro, Rosemarie Trockel, <strong>James</strong> Turrell, Richard<br />

Tuttle, Franz West, Rachel Whiteread and <strong>Robert</strong> Wilson.<br />

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