The best thing about art is that it could be anything and can be presented in any form. Ever since the period man learned how to use their hands, art historians believe that art was made. The hieroglyphics were considered art even before it was considered writing, pottery making using clays and the like. With this context, some may argue that the origins of art are greatly embedded in the use of everyday things and converting it to something artistic—aesthetically and theoretically speaking.
As the world spun and the things we work with are continuously developing, the search for a “modern style” concerned the entire universe of artistic expression, and even the various forms of daily life. The coherence of the new style had to allow for the resumption of the interrupted dialogue between the arts: it recast painting, sculpture, architecture, and the design of everyday objects as uninterrupted variations of a single language, and thus as all sharing the same foundation.
As for the desired dialogue between the various artistic forms, the crucial question posed by the new postwar condition no longer seemed to envisage a conclusion in terms of the creation of a new “art form” that would transform the very essence of the different practices and sweep away the existing differences in the framework of a rediscovered artistic “totality.”
Because of this, gone are the days when you can make art by just using the traditional media which are paint, oil, acrylic, wood, cloth and charcoal. Innovative art is becoming more and more popular, incorporating visual arts and a little bit of architecture with everyday things, or things that were deemed impossible to be artistic before.
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