A Quote by Stephen Bayley

As the twentieth century ends, commerce and culture are coming closer together. The distinction between life and art has been eroded by fifty years of enhanced communications, ever-improving reproduction technologies and increasing wealth.
The distinction between the world of commerce and that of "culture" quickly became the distinction between infrastructure and superstructure, with the former clearly determining the latter.
How can wealth persuade poverty to use its political freedom to keep wealth in power? Here lies the whole art of Conservative politics in the twentieth century.
New information and communications technologies can improve the quality of life for people with disabilities, but only if such technologies are designed from the beginning so that everyone can use them. Given the explosive growth in the use of the World Wide Web for publishing, electronic commerce, lifelong learning and the delivery of government services, it is vital that the Web be accessible to everyone.
Our culture is hung up on and overemphasises what can be derived from material objects. I think this is something quite new, over the past 200 or 300 years - that life has become about accumulating material wealth. The 21st century is not about accumulating material wealth like the 20th century. It's already eroding.
Why is life at this point in the twentieth century so focused upon the very beginning of life and the very end of life? What about the 80 years we have to live between those two inexorable bookends?
Film is more than the twentieth-century art. It's another part of the twentieth-century mind. It's the world seen from inside. We've come to a certain point in the history of film. If a thing can be filmed, the film is implied in the thing itself. This is where we are. The twentieth century is on film. You have to ask yourself if there's anything about us more important than the fact that we're constantly on film, constantly watching ourselves.
I do believe in art and commerce coming together.
The cave art of Madison Avenue has been by far the most innovative and educative art form of the twentieth century.
The humanities and science are not in inherent conflict but have become separated in the twentieth century. Now their essential unity must be re-emphasized, so that twentieth-century multiplicity may become twentieth-century unity.
I've been fascinated by the world ever since I read 'Kitchen Confidential' by Anthony Bourdain. I've watched 'Top Chef' and watched interviews with chefs on 'Charlie Rose'... I thought they're really intriguing characters, and they really encapsulate that tension between vision and commerce, art and commerce.
The two inventions of the century, the car and the computer, are gradually coming closer together.
Extrapolated, technology wants what life wants: Increasing efficiency Increasing opportunity Increasing emergence Increasing complexity Increasing diversity Increasing specialization Increasing ubiquity Increasing freedom Increasing mutualism Increasing beauty Increasing sentience Increasing structure Increasing evolvability
Ever since Marcel Duchamp appropriated mass market objects and pronounced them 'readymades' and Andy Warhol elevated the Campbell's soup can and Brillo Box to art, artists and designers have been blurring the lines between fine art and commerce.
Today's Uncle Tom doesn't wear a handkerchief on his head. This modern, twentieth-century Uncle Thomas now often wears a top hat. He's usually well-dressed and well-educated. He's often the personification of culture and refinement. The twentieth-century Uncle Thomas sometimes speaks with a Yale or Harvard accent. Sometimes he is known as Professor, Doctor, Judge, and Reverend, even Right Reverend Doctor. This twentieth-century Uncle Thomas is a professional Negro -by that I mean his profession is being a Negro for the white man.
This deliberately nurtured hatred then spreads to all that is alive, to life itself, to the world with its colors, sounds, and shapes, to the human body. The embittered art of the twentieth century is perishing as a result of this ugly hate, for art is fruitless without love. In the East art has collapsed because it has been knocked down and trampled upon, but in the West the fall has been voluntary, a decline into a contrived and pretentious quest where the artist, instead of attempting to reveal the divine plan, tries to put himself in the place of God.
No high-minded painter of the last fifty years has been able to come to terms with his art without coming to terms with the problem of cubism.
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