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- Title of Abstract:
?Massclusivity?: an investigation of the complex relationship between patron, producer and object (Ref #217)
- Date:
- 26-10-2006 16:00:24
- Status:
-
Accepted with revisions
- Rating:
- 6
-
Details:
- Decorative art has traditionally been located within private collections, dependent on the involvement, and sometimes indulgence, of an enlightened patron. Historically the high point of this inter-relationship was with extremely sophisticated (and wealthy) patrons such as the Medici.
These patrons were responsible for some of the most enduring works of decorative art ever produced founding the careers of painters, sculptors, gold and silversmiths, and, perhaps more interestingly, establishing those members of the aristocracy who commissioned works from the most innovative of decorative artists as arbiters of taste and style.
That relationship continued more or less unchallenged until the industrial revolution fundamentally changed international social and political frameworks and allowed the emergence of a new sector of society, the inspirational middle class, to begin to influence the process by which functional and ornamental works were commissioned and produced.
The Modern Movement representing one stream of thought and practice in today?s pluralist culture, refined the use of industrial process in a linear format to evolve a visual language in which the development of technology directly influenced the form of applied art. In the late twentieth century other schools of thought such as Post Modernism combined with the rise of popular culture and electronic media to create a visual and philosophical climate which today has encouraged a renaissance of decorative art accessible to, and very often determined by, a demanding and aware multi-cultural and multi-class client base.
Current decorative art represents the diversity of thought and process now accessible to practitioners, curators, critics and consumers. This diversity is informed by a social, environmental, political, technological and economic agenda, which is, for the most part shared and encouraged by the contemporary, culturally aware, corporate and private patron.
This paper explores the notion of ?massclusivity? and investigates the complex relationship between patron, producer and object at the beginning of the 21st century. A new collection of contemporary decorative art embodying these values has been commissioned by DDA Global. This collection is ideas driven, not marked driven and does not work to any particular price point. Excellence of production and clarity of concept are the criteria against which success is measured. The company works with leading designers, researchers, craftspeople and artists from around the world and seeks to establish a platform to discuss ideas, methods, influences and criticisms within the international creative community while remaining commercially viable. Rigorous and innovative marketing strategies for the collection are being developed which are relevant to its upscale, visually sophisticated client base.
Reviewer Comments:
Public Comments:
- Comment left by melanie egan on 26-02-2007 19:06:29 #
- think of massclusivity as
aesthetics of design, the exclusivity of the hand-made and economic viability
see
www.northsouthproject.com
http://www.williamfaxongordon.com/fame.html