Archive for December 28th, 2016



© 2016 by James Clark

      One of the defining features of contemporary history consists in design elbowing art out of the exclusive spotlight it has enjoyed since the days of living in caves. A hundred years ago, at the dawning of surrealist art, sensual proclivities stemming from the motives of the Romantic era saw fit to imbue the constructs of practical life with functions of vision hitherto regarded as profane, as distinct from the sacred status of artistry.

Film art has evinced a fascinating ambiguity in face of this notable shift. The overt craft-design content of that métier has bolstered a priority of design calculated to speak to the more modest pleasures of craft. Those avatars of that industry who could see the point of dovetailing with theatre art have tended to access film schools and their repository of traditional humanistic vision.

Whereas many of the stalwarts of that catch-as-catch-can business have done very well for themselves in reaffirming a tried and true territory, there have been noteworthy exceptions of those with a background of architecture, graphic, industrial and fashion design, surrealist painting, advertising and rock music who march to the sound of a different drummer—a march decidedly at odds with a Renaissance no longer excitingly futural. A recent figure on this horizon is Tom Ford, who, like Ridley Scott, has been and continues to be a player in the world of marketing. (more…)

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