There is more truth in complexity than there is in simplicity. In my Contemporary Art class covering the 1960s, the articles we read analyzing the artwork of that time period consistently hinge on theses that try to shed light on, make sense of, and emphasize the paradox of the artist in relation to the materials they use, their beliefs, the artwork’s qualities, the trends of the time, and other elements. This mainly is due to the nature of art criticism and the simple fact that this tension of paradox makes for a more interesting discussion. As I am double-majoring in graphic design and art history, my degree project will increase the dynamic between the two.
Indirectly, this is an analysis of the fine line between fine art and graphic design. In my search for paradoxes in design in relation to history and the present, I hope to visualize and paradoxically make clearer the ambiguity of the gap between fine art and design. As elusive and abstract as this sounds, an example of this would be Joshua Shannon’s “A Loft without Labor: Judd,” in The Disappearance of Objects: New York Art and the Rise of the Postmodern City. Achieving a clear, understandable view of ambiguity is difficult to achieve, but Shannon skillfully and carefully manages this heightened tension of abstraction and clarity.
Whether this manifests itself into a spatial experience, a motion piece, a book, an infographic, or a website, I am not sure. I am leaning towards creating an interactive piece, involving two-dimensional and three-dimensional aspects. In the end, though, this will be dictated by my research.