Globalization as the Key Idea in Art and Design - Report Example

Key Ideas in Art and Design: Globalization The art world is steadily evolving into new art forms being designed in the contemporary world. The transition from the classical days of the Greek period and the medieval culture is quite noticeable. However, what prompts the steady transformation to art? The global front experiences technological revolutions in art and design. Consequently, modern artists do not utilize paints, brushes, and paintings (LYNTON, 2007, pp 86). By contrast, current utilize use technical forms of art to create various artistic artifacts and artworks. Creativity of the mind is steadily diminishing as artists rely on technological systems to design arts of work. Recently, there have been many exhibitions of 3-D printing, which represents the latest form of globalization in art. The glamorous George Segal Gallery is an exhibition that displays varied models of 3-D designed and printed objects. The gallery is a delightful art facility of the MSU and is resourceful to students practicing Art and Design. The architectural setting of the gallery is state-of-the-art and exhibit conformity to approved standards of museum. The structure consists of 3,130 square feet of space secluded for exhibition purposes. The space is climate controlled by lights as well as nuclear window shadings that serve to block the penetration of natural light. The Gallery also comprises art prep rooms, mobile see-through exhibition, track lighting, wood floors, and dry fire suppression scheme (DEZEUZE, 2010, pp 44). The gallery, developed to promote art, recently hosted an exhibition of 3-D art object. The exhibition clearly showed an elaborate contrast between ancient and digitalized forms of art. Other modern forms of art include Photoshop. Choosing 3-D medium among other modern forms of arts followed the contextual connection between it and old forms of art. Designers develop 3-D printing is through computerized technology and displayed in a way that depicts ancient art. George Segal Gallery Helen Yentus, in the exhibition, presented the first ever design of the 3-D printed book cover. In history, people have not been perceiving books as art objects but rather as sources of information. The idea of 3-D printing, however, presents a new dimension in the art world. The design serves to change the notions people may habit about books (KWASTEK, 2013, pp 24). Thus, the contemporary would have seen exceptional displays of 3-D objects (books included) in major art galleries and exhibitions. It took only a few years after the idea of 3-D printing that the first 3-D printed book cover was launched. A publishing of Riverhead Books, an edition of the novel On Such a Full Sea by Chang-Rae Lee presents a white slipcover containing letters of the title rising from the surface. The design of the art makes the book serve the functions of the source of information as well as doubling as a sculpture. First 3-D Print Cover The cover is a design masterpiece from the art director of Riverhead, Helen Yentus. The design of the artwork was quite involving as it took extended periods of 30 hours to print the explicable slipcover. However, streamlining of the design system reduced the time of production to approximately 15 hours per printing of each slipcover (KWASTEK, 2013, pp 24). The arduous production process is the reason the costs of the books are exorbitant. The prices are almost ten times the cost of ordinary books with the limited editions selling for an enormous sum of $150. The price is way above the price of the Kindle eBook editions that cost $11.99 each. While releasing the book in the exhibition, the author Lee stated that, the idea of 3-D printing "re-introduces the idea of the book as an art object. The publishing industry has been floundering in recent years. The idea of 3-D printing relieves authors from the need of engaging in rampant advertising that aims at attracting the appeal of customers. The elevation of fiction books into luxury forms of art objects is a prudent way of attracting the interests of customers. Usually, such genres of books are secluded for coffee tables. Thus, fictional books can get the undivided attention of consumers who show interest in the work of art. The idea of 3-D is purportedly borrowed from contemporary ideas of 3-D printing in digital technology. The exhibition served to offer customers the opportunity to lean on something that is near digital, in the analog world (KWASTEK, 2013, pp 24). In the exhibition, the designers of the print book endeavored to present the artwork in more digitalized fashion. The overall perception of the show was to relate the 3-D edition cover to the digitalized forms of e-books. The book targets customers who are unable to access digital sources. The physical outlook of the book appealed to the audience in the exhibition. The aim of the exhibition was to address stakeholders and other parties with stakes in the print industry as well as in the art industry (KWASTEK, 2013, pp 24). The beautiful design is apposite for an envisioned future change in the novel. The designers thought of novel ways of availing novels that would only appear digitalized in tangible forms. The slipcover is an idea of a globalized form of artistic mastery. The new ideas in the art industry came up in the midst of disappearance in print books. With the development of computer technology, people are steadily moving from print books to the use of e-books (ADAMS et al, 2008, pp 35). Consequently, the market for print books is constantly declining. Thus, designers and others conceived a noble way of converting the print book into what would represent digitalized forms of literature. Therefore, it led to the unveiling of the slipcover that constitutes a classical instance of 3-D printing. The slipcover, among other artifacts of 3-D, has various benefits. The exhibition of the slipcover strived to attract the attention of the digitalized form of viewers. The overall process was envisioned to create a digitalized form of art idea in a print form. With the growth in the customer base for digital sources like e-books, the designers of the slipcover had an intent to change the perception about print. Perhaps the computer results in a novel dimension of literature thinking. Readers would rather sign up for online research materials than purchase bulky print books. Obvious is the appeal that such literature arouses in the various users. The designers thus had the critical intent of changing the perceptions of different users (ADAMS et al, 2008, pp 35). Designing books that appeal to the sight of readers is one way of rejuvenating the print book industry. Nevertheless, the idea of 3-D art faces various critics, especially about the prices of books. When 3-D art is converted to print form, the costs for purchasing such books increase exorbitantly (LANGDON, 2014, pp 44). In unveiling the 3-D book print cover, Helen Yentus targets three contextual positions of globalized notion in modern arts and design. The idea of 3-D print is a form of artwork that has been evolving in history. Like VR technology that came before it, 3-D printing is one of the technological trends that depict a steep and long adoption propelled by quick advances in modern systems of art. Despite 3-D printing being a technology that has surfaced the art gallery in the recent parts, there has been a detonation of creativity associated with it in the last few years. It avails to artists more freedom for design. Thus, most artists can now make great designs for unimaginable and unusual things. Explosions of creativity are good for arts but may adversely affect the capability of artists (SIMANOWSKI, 2011, pp 23). Ancient artists depended on their mental and craftwork capabilities in designing various arts. The ability to form fantastic features from the natural mind is what gives ancient artwork its novelty and attractiveness. New technological transformations, however, have tarnished the legacy through the 3-D art. Perhaps even the poorest artists can now develop incredible images with the help of CAD drawings and other designs. What is the art world coming to? Perchance 3-D modeling should now be categorized as a science rather than a work of art. Bernat Cuni is one of the artists that featured in the gallery. He explains that most of his arts are ideas from children. Cuni takes drawings of children and reproduces them in three-dimensional forms using computer-aided software. A 3-D printer develops images dubbed crayon creatures, converting handwritings into mini sculptures. Another artist who featured in the exhibition is Michaela Janse van Vuuren. A former puppet maker, Vuuren focuses on specific designs attainable only with the use of 3D printing (SIMANOWSKI, 2011, pp 23). Her painting dubbed “The White Horse marionette” is a multifaceted art that bypasses the realm of artistic reality. The composition of the model entails a sumptuous set of wings comprising numerous interlocking portions. The parts are all printed in one instance as opposed to the ancient art whereby parts are developed separately and later assembled. The advantage of such a painting is that no need assembly is necessary and thus the piece is readily available for sale. Vuuren states there exists no technique in the handicraft and traditional manufacturing methods that can yield such kinds of designs. The White Horse marionette The art of 3-D is everywhere in the modern world, and everyone is now cognizant of it. Their sources of information are the papers, blogs, and television. The exhibition of print products seems to talk over from the mastery of natural artwork. Contrary to the old days when artists used to rely on their talents, the 3-D printing relies on computer programs (SIMANOWSKI, 2011, pp 23). The mentality presently seems to be that the idea of 3-D printing is likely to affect the manufacturing industry. In the future, people are likely to be able to download products or manufacture them using art programs like 3D scanners, applications, and CAD. Once people develop the artworks through such programs, they can print them out in local print shops or even at home. Such exhibitions of printing unveil a new transformation whereby artwork is likely to decentralize manufacturing. From the outlook, 3-D printing object seems to be constructed from a mixture of materials. However, a closer look depicts that they are just made from plastic powder, with colorations of inkjet paint. The painting of most 3-D images occurs in one piece and may create the illusion that the constituent elements are diverse (SIMANOWSKI, 2011, pp 23). The public may perceive the artwork as being constructed from a combination of materials, for instance, rubbers, plastics, and metals. In the 3-D exhibition, other images depict gloss plastics with multifaceted shapes manufactured from complex machines. The machines are quite expensive and may not be economical for common artistry work. All the artwork may be done at the comfort of homes. Thus, the 3-D form of artwork represents the future! 3D printing is the process of constructing solid objects of a three-dimensional nature, particularly using a digital file. The manufacture of the 3D printed object occurs through an additive process. In the process, the manufacturers lay down consecutive layers of material to create the object (SIMANOWSKI, 2011, pp 23). Every layer may be perceived as thin horizontal cross-sections of the final object. Forming a 3-D printing artwork begins with the process of creating a virtual design of the envisioned. The idea of designing the 3-D models in a duplication of the idea of computer technology. The virtual design is computer aided using modeling programs for 3D. The exhibitions of 3-D painting can be analyzed from three major contextual positions: the physical outlook, the manufacturing/sculpturing process, and the material component. Every position taken yields varied contextual understanding from the audience. Physical outlook The 3-D printed models/arts are currently the most beautiful pieces of art in the contemporary visual arts. The designs for 3-D can yield the best images that appeal to the sight of the viewer. Exhibitions of 3-D paintings are always colorful (BENJAMIN et al, 2008, pp 45). The designers utilize forms of painting on the images. The attractiveness of the paintings differentiates the old forms of art to the globalized idea of computerized art. However, the images can be quite misleading in terms of the complexity of the visual art. 3-D printings are usually designed in a way that may deceive viewers into thinking that they are complex forms of art. Nevertheless, the paintings are merely sprays of inkjet applied on powdered plastic materials. Ancient artist would rank to contemporary arts as ideal rather than real pieces of art. During the exhibition of the 3-D painting, the graphics and the design of all the designs were quite attractive and appealing. The 3-D images can be mind-bending as they comprise of a novel dimension in art. Artists are illustrating another form of technology through the printing of remarkable creations that would have been impossible in the past decade (MCINDOE & LOVE, 2012, pp 13). Through 3-D printing, any form of conceivable art can be formed ranging from simple objects to complicated objects. Exhibitions of 3-D art have resulted into the most complex artworks in history. The forms of art that could not be easily constructed in history can now be constructed easily in one package. Models of 3-D printing are attractive and appeal to the eyes. However, some of the images in 3-D printing surpass the realms of art reality. The imaginative features depicted in such images are just farfetched. One may argue that such images are fiction rather than a real representation of art. The form of art may be regarded as more of scientific rather than artistic. Contrary to other forms of arts such as portraits, 3-D models take up much space. The exhibition was thus spacious to allow the images to fit the gallery. Portraits are easy to view, as they are two-dimensional (MILLER, 2008, pp 45). However, the 3-D images have varied perceptions of view. In order to grasp the artistic features of such models, viewers view the models from varied angles. It is the weakness of such exhibitions as it takes considerably long durations of time to discern the strong features of an object. 3-D Art Manufacturing/Sculpturing Process For modern artists, the manufacturing or creation process of 3-d art forms is quite normal. However, the contextual understanding of ancient artists may contrast the modern perceptions. Magic is the word that may describe the modern art as understood by ancient artists. Just how possible is it to manufacture complex objects from one printing? Technology is the answer to the daunting question (COLSON, 2007, pp 23). All the arts exhibited in the gallery were either the product of technology or a blend of ancient arts and technology. The realistic nature of the manufacturing process raises an alarm. The 3-D printers can from every image designed using plastic powder regardless of the real material component of the image. Thus, ancient artists still question whether 3-D art is a real artistic work or scientific fiction. 3-D painting makes the impossible seem possible, makes complex objects seem simple, and makes art seem an easy discipline (SULLINS & TOBALL, 2011, pp 30). These are all good and attractive attributes of the form of art. However, such simplistic display of as effects it both as a discipline and as a showcase for talent. The displays in the exhibitions seemed not to surprise the audience who were turned back by the idea that such models would even be created at the comfort of a bedroom! Just what is the art world coming to? Art should be delicate, sentimental, and obstinate. That is what makes art one of the classical disciplines in the history lane. By turning art into a one-spot manufacturing package, the art industry is slowly losing its attractiveness as an antique discipline. Material Component Digital art can be hoodwinking and manipulative to the intended audience. One glance at the objects in the gallery and one would think that the material components are expensive and vintage. It may be quite shocking and surprising to realize that such objects constituted of plastic powder and colorations of ink injections (CHILVERS et al, 2009, pp 34). It is amazing at what the digital technology can do to the art world. Complex images of artifacts in the gallery were formed of plastic. From the perspective of ancient artists, such models are simply a conversion of classical art into “plastic art.” The art world is losing its edge, and it seems that the future promises limited creativity in terms of material components. Ancient art, on the other hand, utilized numerous forms of locally made materials to yield beautiful features. Color pigments blended in egg-yolk could result in excellent portrait that would create an appeal to the audience. The claim that digital art deprives ancient art the features that make it special holds. Contemporary artist can now create the image of portraits that took ancient artists long hours of material assembly, in one go. Although the artworks of 3-D painting are currently expensive, they are likely to reduce significantly in the future (BONHAM et al, 2011, pp 34). The steady transformation in technology is likely to yield a period whereby the material components for making such models would be cheap. Cheap component and cheap manufacturing process results in cheap artwork. Famous portraits like the Monalisa are likely to lose their material and artistic value, eventually. Digital artwork is a reflection of the collapse of the art discipline in the future. The resulting discipline will be a fusion of science and art. Designing will yield complex objects that are unimaginable in the world of ancient art (ECK, 2011, pp 55). Ancient art will not compare to the digital art, and both forms may suggest two separate ideas arising from the same origin. Quite discernable is the manner in which 3-D reproductions diverse vary from the originally envisioned forms. In the exhibition, audience viewed the images of the designs both in 2-D and 3-D. An elaborate disparity exists between the original and 3-D models. The technological advances fail to achieve the effect of originality of the objects. Closer review of the images yields a sharp contrast that separates ancient art from the digitalized form of art. Critics normally use a similar perception to disregard such art forms. However, Professor Joris Dik from the Delft University of Technology in Holland admits that such contrasts judge the steady evolution of technology (COSTELLO & VICKERY, 2007, pp 67). Three-dimensional art may be steadily growing as a technique for sculpturing art. However, the technique has various disadvantages when compared to ancient artwork. It could be a transformation in the art world or simply a “coup” against ancient art. Whichever way the audience look at it depend on their contextual understanding of art as a discipline or a technological object. Bibliography ADAMS, R., GIBSON, S., & ARISONA, S. M. (2008). Transdisciplinary digital art sound, vision and the new screen : digital art weeks and interactive futures 2006/2007, Zurich, Switzerland and Victoria, BC, Canada, selected papers. New York, Springer. BENJAMIN, W., JENNINGS, M. W., DOHERTY, B., LEVIN, T. Y., & JEPHCOTT, E. (2008). The work of art in the age of its technological reproducibility, and other writings on media. 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LYNTON, J. R. (2007). Reflections: artwork patterns to make your scrapbook layouts come to life. Salt Lake City, Gibbs Smith, Publisher. MCINDOE, S., & LOVE, A. (2012). Developing and sustaining excellent packaging labelling and artwork capabilities: delivering patient safety, increased return and enhancing reputation. MILLER, R. (2008). Digital art: painting with pixels. Minneapolis, MN, Twenty-First Century Books. SIMANOWSKI, R. (2011). Digital art and meaning: reading kinetic poetry, text machines, mapping art, and interactive installations. Minneapolis, University of Minnesota Press. SULLINS, A., & TOBALL, S. (2011). Digital art wonderland: creative techniques for inspirational journaling and beautiful blogging. Cincinnati, Ohio, North Light Books. Read More