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[…] Latour, B. & Weibel, P. (red.) (2005). Making things public: atmospheres of democracy. ZKM. Latour, B. (2010). Steps toward the writing of a compositionist manifesto. New Literary History, vol. 41. Petreca, B., Baurley, S., & Bianchi-Berthouze, N. (2015). How do designers feel textiles?. I 2015 International Conference on Affective Computing and Intelligent Interaction (ACII) […]
Kilder Dansk Kunsthaandværk, årgang 1951-1966 Fallan, Kjetil, 2017. Designing Modern Norway. A history of design discourse. Abingdon. Guldberg, Jørn, 2011. "Scandinavian Design as Discourse: The Exhibition Design in Scandinavia 1954-57", Design Issues, Vol 27/2 Hansen, Per H., 2018, Danish Modern Furniture 1930-2016. Syddansk Universitetsforlag og Lindhardt og Ringhof Huldt, Åke H. 1954. "Rapport om Design in […]
[…] Claire. The conceptual point of departure ofthe motifs isthe fulcrum of his art. At the same time, the vase is functional. Perry displays astrong affiliation with art history in his use ofthe classical and traditional vase as abasis for his motifs and via the retaining ofthe ornament and decoration on the surface of the […]
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[…] >K ■:i THE PATTERN INTHE CREATIVE PROCESS Amy Goldin’s closely-argued, meaning-packed article from the peri- odical Artforum. 1975. as welt as anumber ofother works oftheory and art history -primarily Gombrich’s large work on The Sense of Order- stand out byfocusing on afar broader understanding ofthe relationships among pattern, motif and ornament inaesthetic pro- duction […]
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[…] 00s inKaren Kjældgård-Larsen’s oversized version Blue Fluted Mega for Royal Copenhagen. Susanne Hangaard’s piece can be associated with the international ceramic trend that takes an interest inthe history and sym- bolic language of porcelain patterns -as exemplified by the British ceramists Robert Dawson and Paul Scott. TO EACH THEIR OWN TRADITIONS Perhaps itwould be […]
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[…] en del aftiden, havde set sådan ud, følt os smarte itiden og forladt den tid, som vialle forlader alle RETRO AND BACK AGAIN By Bjarne Kildegaard The history ofstyle isfull ofrecycling. Aesthetic forms that have long since ceased tofascinate artists, designers and consumers suddenly re-emerge inour material universe tocaptivate, fascinate and inspire. Historically, one […]
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[…] after van Duisburg, Diego Rivera, the revolutionary Mexican visual artist, decorated walls inthe Mexico and USA ofthe 1930s with figurative fables inabrilliantly coloured swarm ofdetails from the history ofthe peoples; popular monumental art that enjoyed recognition from allquarters. Even atthe Rockefeller Center inManhattan itwas Rivera who, inthe name ofprogress, paid homage tothe worker and […]
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[…] avantgarde afkunsthistoriker Louise Mazanti 58 58 Denaterialisering og kunsthåndværkets identitet 66 afcand. mag. Jannik Jepsen Dematerialization and the artist-craftsman identity 66 byJannik Jepsen, MA inDanish and art history Økonomisk støtte 71 Financial support 71 Kolofon 72 Colophon 72 BIENNALEN 2002 30. AUGUST -20. OKTOBER 2002 BREDGADE 68, 1260 KØBENHAVN K KUNSTINDUSTRIMUSEET WWW.BIENNALEN2002.DK TELEFON 3318 […]
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[…] synes at være underordnet en proces af kompleks problemløsning – uden nødvendig inddragelse af de æsteti- ske dimensioner, som altid vil være een- trait ikunsthåndværkerens frembringelser. The History of Design as a Process of Rationalization From its originally humble role in early industrialization as an anonymous “back stage” activity, today design plays acentral role […]
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[…] everything inlower-case, so as tosave time”, was the message offrugality that was printed on the Bauhaus stationery after 1925. signalling a rationalism that was toemancipate consciousness from history as coercion and norm, and was tobegin again with atradition-cleared table, trusting inthe idea ofenlightenment. Snart gaar Farten atter hjemad PerogLiteIvrigt fremad *tirrer fraKabinens Rude: THE […]
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