Art Nouveau VS. Contemporary Design

From what I have been able to gain from these readings, art has evolved with time just as people have. It adapts as we adapt. I find it interesting in these readings though, as to what the opinions are of these adaptations. The first reading by George Nelson examines the Herman Miller Furniture Company. Through analyzing the design processes of the Company, Nelson explains that the designs of furniture adapt when necessary but are designed with the intention of remaining a permanent fixture of the Company’s collection. They are meant to stand the test of time until it becomes necessary to change the design for the better use and aesthetic contentment of the people.
I find this method fascinating in comparison to the ideas of the second article written by Adolf Loos. Loos points out that art is meant to adapt as people do. Art was meant to evolve away from past Art Nouveau practices in the design of an object and move into something so incredibly sophisticated that the object could only be seen as ‘plain’. Loos claims that historically there was initial uprising against these ‘modern’ designs because of their lack of art and a desire to create the next great era of art and design. In actuality, these designs were not only cheaper to produce, but were also far more useful and efficient than the past, more decorative designs had been. Loos uses the entire article to proclaim that the era everyone is trying to create already exists in an era that is far superior to the other because of this newly discovered proficiency of design and production. Ornamentation had been a previous necessity of design that virtually plagued every object that one could possess. This newfound simplicity was not only changing the objects themselves, but was changing the economy of consumerism, and Loos embraced it.
The final article by Hal Foster, brought up Loos and the era of Art Nouveau as well in it’s analysis of contemporary design. Foster points out that we are all living in a ‘world of total design,’ where everything you see is marked by a designer label. He claims that it is not a ‘new’ idea. It has, in fact, existed ever since the Art Nouveau era where everything was ‘ornamented’. Now the definition has changed once again. Now we move into an ‘inflation of design.’ Foster explains that nowadays the commodities and desires of the people are drastically taken into account in the design of a product, to a point where the artist’s opinion does not matter anymore. The hunt to gain the attention of the consumers is paramount in competing with other companies, and objects are re-designed in an endless cycle, merely seeking to be purchased.
In my personal opinion, the masses can enjoy the simple, useful designs. There are objects that I use everyday that fit the category. I prefer the ideals of the Herman Miller Furniture Company, where the artist is still the one who creates because of the enjoyment and pleasure it provides. If the world finds a design to be desirable, that is wonderful and the artist takes joy in that the work if appreciated not only by the artist, but by others as well. To me, it is what the artist values in the work that is created.