There is a new movement in the works, that mixes fine art and high-end furniture in a way that may seem sac religious to some gallery owners. It is a new, modern concept that is considered very cutting edge, and it is being introduced on both coasts. It is intentionally meant to blur the lines between fine art and designed objects; to create an elegant interplay between the two. It bends the rulebook and frustrates art dealers because it is a genuine effort to step away from the concept of the ‘white cube’.
Brian O’Doherty wrote “Inside the White Cube” as a series of essays that appeared in Art Forum in 1976. They purported the transformation of the gallery to a clean void, thus enhancing the exhibition and salability of the work. And galleries everywhere changed their look. Perhaps it was justified at the time, since the industrial lofts of NYC in the 70’s and 80’s could be a bit rough. But no longer.
Now the concept of the white cube is looked down upon as too empty and too antiseptic; due in part to the fact that too much bad art has been presented as quality work just based on its pristine surroundings.
Regardless, the world is rocking back toward the more human elements of the early Beaux Arts salons. Well, not quite – the current mix is elegant, sleek and very timely. The idea is to create a museum aesthetic that is classic, one of a kind quality. So at SMINK we are treating the gallery like a view finder, a place to evidence the art against well-designed furnishings, by the world’s leading designers.
Here, the subtle poetry of the creative process is evident in both the fine art and the design objects/furniture. Each creator, whether painter or architect, designer or sculptor, has pondered an idea, had an epiphany, worked and reworked the concept to perfection. Here they are together.
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