Makeshift wholes: interiority and texture in postwar British design

• Alex Kitnick ^[1]
  1. [1] Bard College

     Bard College

     Town of Red Hook, Estados Unidos

     
• Localización: Art history: journal of the Association of Art Historians, ISSN 0141-6790, Vol. 39, Nº. 4, 2016 (Ejemplar dedicado a: Material imagination: Art in Europe, 1946-72), págs. 698-719
• Idioma: inglés
• Texto completo no disponible (Saber más ...)
• Resumen

  • This essay traces the emergence of design in postwar Britain. In particular, it seeks to track ways in which certain members of the artistic community both participated in and resisted the language of design. In the postwar moment many artists felt a need to engage with design work, but they often did so in order to show their difference from dominant trends. At a moment when much of England was being made over in the image of New Towns, artists such as Eduardo Paolozzi and Nigel Henderson attempted to transfer something of the world of the working-class street into the interior. At the same time their company Hammer Prints attempted to carry on an artistic legacy initiated by the photographs of Brassaï and the prints of Jean Dubuffet. But instead of creating independent works of art, they attempted to assimilate these lessons for the discipline of design in order to transfer texture and a sense of interiority back into the world.