A Quote by Bruno Munari
The designer of today re-establishes the long-lost contact between art and the public, between living people and art as a living thing.
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I love art, and I love history, but it is living art and living history that I love. It is in the interest of living art and living history that I oppose so-called restoration. What history can there be in a building bedaubed with ornament, which cannot at the best be anything but a hopeless and lifeless imitation of the hope and vigor of the earlier world?
Sometimes we forget that if we do not encourage new work now, we will lose all touch with the work of the past we claim to love. If art is not living in a continuous present, it is living in a museum, only those working now can complete the circuit between the past, present and future energies we call art.
Society is indeed a contract. It is a partnership in all science; a partnership in all art; a partnership in every virtue, and in all perfection. As the ends of such a partnership cannot be obtained in many generations, it becomes a partnership not only between those who are living, but between those who are living, those who are dead, and those who are to be born.
Today people live to work rather than work for a living. They have forgotten their true goal in life. Subsequently they have forgotten their dharma. There is no communication between hearts, there is no sharing. Having lost contact with other's hearts, we become totally isolated. But in truth we are not isolated islands, we are links that form one chain.
Living in cities is an art, and we need the vocabulary of art, of style, to describe the peculiar relationship between man and material that exists in the continual creative play of urban living. The city as we imagine it, then, soft city of illusion, myth, aspiration, and nightmare, is as real, maybe more real, than the hard city one can locate on maps in statistics, in monographs on urban sociology and demography and architecture.
There is a complete difference between art and the art market. Prices are high now for the simple reason that there are people are willing to pay them. The market dominates the art world today because at the moment collectors call the shots. Like everything else that won't last forever.
Art is a partnership not only between those who are living but between those who are dead and those who are yet to be born.
Art is not living. It is the use of living. The artist has the ability to take the living and use it in a certain way and produce art.
A master in the art of living draws no sharp distinction between work and play.
When I was in Wuhan, I went to the art school, which was one of the most important art schools in China, an enormous art school. One of the things that I saw is that the schools are very big and there are so many students. It is very difficult to me to teach creative activity to great numbers of people, because I think you need personal contact with students, you need to speak individually, you need individual contact between teachers and students, you need continuity. To me this is a problem in mass education in every society now.
In the past, art was admired and revered from afar. Today, there is more of an interactive relationship between the art and the person who admires it.
I have to say that I reject somewhat the distinction between something called art and something called public art. I think all art demands and desires to be seen.
People who want to be amused have lost the art of living.
Fine art, that exists for itself alone, is art in a final state of impotence. If nobody, including the artist, acknowledges art as a means of knowing the world, then art is relegated to a kind of rumpus room of the mind and the irresponsibility of the artist and the irrelevance of art to actual living becomes part and parcel of the practice of art.
If the point of contact between the product and people becomes a point of friction, then the designer has failed. If, on the other hand, people are made safer, more comfortable, more desirous of purchase, more efficient — or just plain happier — by contact with the product, then the designer has succeeded.
I often told the fanatics of realism that there is no such thing as realism in art: it only exists in the mind of the observer. Art is a symbol, a thing conjuring up reality in our mental image. That is why I don't see any contradiction between abstract and figurative art either.
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