A chocolate box about Weimar: relationships between art and design in Barbara Bloom’s work

Authors

DOI:

https://doi.org/10.5965/2175234616382024e0011

Keywords:

Barbara Bloom, art and design, art and tourism

Abstract

The American artist Barbara Bloom has been conducting research since the mid-1970s on a wide variety of artistic media, engaging in frequent interlocutions with the fields of photography, film, literature, music, advertising and design. In this paper, we aim to understand her approach to the universe of design based on the analysis of a specific piece of artwork entitled Weimar, past... future, and now? [A chocolate box about Weimar], 1995. In the light of the notion of "total design", developed by Hal Foster in the early 2000s, the analysis was conducted by comparing the strategies adopted by the artist with some of the principles of commercial design described in the guide "Universal Principles of Design", written by William Lidwell, Kristina Holden and Jill Butler. As a result, we highlight how Bloom's artwork assimilates and mimics the ways in which commercial design operates in order to subvert and redirect it, with the aim of awakening in the viewer a more distanced and questioning perception of their own daily reality.

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Author Biography

Marilia Solfa, Federal University of Viçosa

Possui graduação em Arquitetura e Urbanismo pela Universidade de São Paulo (2006), especialização em Artes Visuais - Cultura e Criação pelo SENAC-RJ (2011); mestrado na linha de pesquisa "Interlocuções entre arte, arquitetura e urbanismo contemporâneos" (2010) pelo Instituto de Arquitetura e Urbanismo da Universidade de São Paulo, e doutorado na linha de pesquisa "Aproximações entre arte contemporânea e design" (2017) pela mesma instituição. Foi pesquisadora do Núcleo de Estudos das Espacialidades Contemporâneas do Instituto de Arquitetura e Urbanismo da Universidade de São Paulo (NEC-IAU-USP) entre os anos de 2012 e 2017.  É docente do curso de Arquitetura e Urbanismo da Universidade Federal de Viçosa e do programa de Pós-graduação da mesma instituição.

 

References

BLOOM, B. et al. The Collections of Barbara Bloom. New York: Steidl/ICP, 2008.

BUCHANAN R.; MARGOLIN, V. (eds.). Discovering design: explorations in design studies. Chicago: University of Chicago Press, 1995.

FOSTER, H. “Design as Crime”. In: COLES, Alex (ed.). Design and art. Cambridge, Mass.: MIT Press, 2007, pg. 66-73.

FOSTER, H. et al. Art since 1900 - modernism, antimodernism, postmodernism. Vol 2. New York: Thames & Hudson, 2004.

HENKE, B. Goethe®: Advertising, Marketing, and Merchandising the Classical. In: HENKE, B.; RICHTER, S.; KORD, S. (ed.). Unwrapping Goethe’s Weimar: essays in cultural studies and local Knowledge. New York: Camden House, 2000, p. 15-31.

JOHNSON, K. Barbara Bloom: A portrait of the artist, in bits and pieces. The New York Times, fevereiro de 2008. Disponível em https://www.nytimes.com/2008/02/08/arts/design/08bloo.html, acesso em 21/07/2020.

LIDWELL, W.; HOLDEN K.; BUTLER J. Princípios Universais do Design. Porto Alegre: Bookman, 2010.

RICHTER, S. Like a box of chocolates… In: HENKE, B.; RICHTER, S.; KORD, S. (ed.). Unwrapping Goethe’s Weimar: essays in cultural studies and local Knowledge. New York: Camden House, 2000, p. 01-09.

BÜRGER, P. Teoria da vanguarda. São Paulo: Cosac Naify, 2008.

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Published

2024-04-12

How to Cite

SOLFA, Marilia. A chocolate box about Weimar: relationships between art and design in Barbara Bloom’s work. Palíndromo, Florianópolis, v. 16, n. 38, p. 1–24, 2024. DOI: 10.5965/2175234616382024e0011. Disponível em: https://periodicos.udesc.br/index.php/palindromo/article/view/24611. Acesso em: 17 may. 2024.

Issue

Vol. 16 No. 38 (2024): Desafios de ensinar a ler linguagens

Section

Artigos Seção temática

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Copyright (c) 2024 Marilia Solfa

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