When the average person thinks of art, the question of function does not typically come to mind, other than the aesthetic pleasure one may gain from a piece.However, this traditional view of art is constantly being modified and in some cases tossed out the window all together. Both the Museum of Modern Art and the Metropolitan Museum of Art house works representative of this culture and yet pieces that can easily be mistaken for everyday, household objects. You may be wondering what makes a lamp, or a table a piece of art? And who decides such things? Exactly when did design take off to encompass the everyday so much so that we are able to look at anything and see it as a work of art? The change in perception that gave artists another platform to exhibit the unconventional began around the 1920s and progressed over the decades up through the present. Modern artists of today although given more mediums to work in, have the challenge of transforming the standard functional objects of yesterday into the innovative works of art of tomorrow while maintaining the functionality that defines their mediums.

Unlike most other art movements, 1920’s art deco came about neither as a result of a political or philosophical stimulant but rather its purpose was merely decorative.[1] Consumerism spawned this movement of the roaring 20’s as luxury became the norm and people pushed the limits of their wallets to keep up with the jones’. A result of increased consumerism was increased production and thus innovation was further encouraged. Not only were companies pressured to come out with new, more efficient products, but products that would look good while getting the job done. The emergence of new designers during this time not only opened up the field of design to broader interpretations; it also merged the separate principles of functionality and aestheticism so that a tea kettle could just as easily be a decorative paperweight as it could be used to make a cup of tea.

One of the artists featured in the Met’s exhibit Highlights from the Modern Design Collection: 1900 to the Present, Part II, Tom Patti is an excellent example of the change in modern art through the mid 1900’s to now.  His table on display, “Rotated Rectangle”, is made of reflective glass- a material Patti is known for using. However it is not merely a table as it extends to convey a bigger picture of how we see space itself. “Trained as an Industrial Designer, with studies in experimental architecture and perception theory, Patti’s work since the late 60s has been informed by the ambiguity between art, design and architecture. His tables provide a visual dialogue that combines and distinguishes between these disciplines.”[2]  Such ambiguity allows modern/contemporary artists like Patti to take innovation beyond the set distinctions of a field. Anything is fair game.

What is particularly striking about this movement in design specifically with regards to furniture and appliances is how art allows us to evoke emotion via inanimate objects. The rounded edges of a lazy boy recliner suggest comfort and relaxation in contrast with the straight sharp edges of the glass desk in an office that bring attention to the work at hand. Objects are no longer objects as they take on a deeper meaning and purpose through design. Thus form and functionality work more cohesively as they play off of one another to create a mood complementary to the action being done. Neither one nor the other is more important.

This symbiosis of sorts which has characterized modern design has become ever more skew in the realm of art. Functionality is less important as a work of art and form takes on a greater role in the expression of an artist’s idea. Artist, Tejo Remy’s piece “You Can’t Lay Down Your Memory Chest of Drawers” is a perfect example of this limit placed on functionality for the sake of art and design. Exhibited at the MOMA in the Architecture and Design Galleries, his piece presents what looks like a stack of drawers, each taken from a different dresser, belted together. Each drawer represent an experience and Remy shows the significance of the furniture we take possession of and how it holds a memory that we take with us. When one looks at this piece it is obvious that the original functionality of the drawers takes a back seat to the aesthetics of the work. However, the drawer remains a drawer as it started. The range of furniture design provided Remy the foundation on which to fashion his piece.  Thus the line between art and object has become increasingly blurred with time.

Time has broadened meaning, opened up numerous fields for artists and given manufacturers of the everyday product more leeway in terms of creativity. Early innovation redefined the way people looked at household items. Toasters and chairs now needed to be aesthetically pleasing. Modern innovators have further transformed the way we look at furnishings by suggesting that me omit functionality all together in search of the essence of an object. The importance is placed on the work as a piece of art rather than an object that is pleasurably artful. The objects themselves are still functional. However, it is the way we see them that has changed their distinction. And so, it is ultimately up to the viewer to set the boundary between objects and art.