Enhanced descriptions from Syndetics:

Part of the acclaimed 'Documents of Contemporary Art' series of anthologies . This title comprehensively surveys and looks beyond the phenomenon of "designart" that has emerged since the Pop and Minimalist era: cutting edge, hybrid practices that blur traditional boundaries between art, architecture, graphics and product design. Key debates about form and function, the everyday, the collective and the utopian are contextualized historically and theoretically by leading practitioners and critics from both the art and the design worlds. Contributors include David Bourdon, Peter Cook/Archigram, Douglas Coupland, Kees Dorst, Charles Eames, Experimental Jetset, Vilém Flusser, Hal Foster, Liam Gillick, Dan Graham, Clement Greenberg, Richard Hamilton, Donald Judd, Frederick Kiesler, Miwon Kwon, Maria Lind, M/M, N55, George Nelson, Lucy Orta, Jorge Pardo, Norman Potter, Rick Poynor, Paul Rand, Tobias Rehberger, Ed Ruscha, Joe Scanlan, Mary Anne Staniszewski, Superflex, Manfredo Tafuri, Rirkrit Tiravanija, Paul Virilio, Joep van Lieshout, Andy Warhol, Benjamin Weil, Mark Wigley and Andrea Zittel.

Reviews provided by Syndetics

CHOICE Review

The relationship between art and design is a topic that has been debated and discussed for decades, but it has generally not been given proper attention in the academic and art worlds. Coles (London-based art critic) has compiled a fascinating collection of writings by and interviews with prominent artists, architects, graphic designers, product designers, critics, and historians that intelligently explore "designart," the interface between art and design. This anthology, part of "Whitechapel's Documents of Contemporary Art" series, collects articles about art and design from several generations (1957-2006) and features writings by George Nelson, Charles Eames, Andy Warhol, and Paul Rand, among many others. A number of essays cross-reference other specific articles and themes in the anthology, which provides for a nice continuity, and the overall tone ranges from very academic to candid. The book is organized in three sections: "Paradigms," "Utopias and Collectives," and "Coordinators." Its scope and insights make it essential reading for design students, and recommended reading for art students interested in design. Summing Up: Highly recommended. Lower-division undergraduates through professionals. Y. Cortes Skidmore College