Keywords: Modern utopia, relational aesthetics, eco-design, modular design, information economy, postmodernity, green design, communication theory, globalization, and the topic social design and art

It put further focus on how and that our relationship to everyday style objects and living environment, is changing. 

…. Frank Stellas coat remind us about Sovjet Constructionism. Ina Blom writes that the relation between Conceptualism and Constructivism, is in the background of and cannot be separated from Neo-Conceptualism, and post-conceptualism, such as the style site works of Gardar Eide Einarson and other contemporary artist whom in their practices address and questions modern and post-modern art and practices, and more. 

… Italian Memphis group uses design in their social approach to design language and as comment to post-industrial society. They are famous for their use of stripes and retro design style.

Images: Coat Frank Stella. The Metropolitian Museum of Art. Ca. 1965 | Gardar poses with i-D Fashion Director Charlotte Stockdale | Form- and designlab. Stool three – Stripes. 2017/20. MEB.

Donald Judd
15 untitled works in concrete
1980-1984, detail
Chinati Foundation, Marfa, Texas
Photo from

To be ahead of a problem that is based in the social

Late modern can be an expression that are used to make a point of the fact that when society or projects in the social, fails, (…)

Key strategies for late modern artists are situational, performative, and site-specific (Ina Blom, 2007).

The artist Donald Judd disagreed with the idea of art being an object that could be transferred from museum to museum and shown in continually different contexts without losing meaning. 

The late points at ideas that are already proven wrong, and that we know are a failure are still being applied to social and political arguments.  

Predictions or ways of thinking

Thinking that questions the museums’ social function, can be “late”, or doomed among artist and curators and directors. 

Museum programs, projects, exhibitions and other institutions of the 21 centuries are dealing with discourses on social art and its cultures.

Judd’s specific objects

The 15 concrete works that run along the border of the Chianti’s property were the first works to be installed at the museum and were cast over a four-year period from 1980 through 1984.

Each unit has the same measurements — 2.5 x 2.5 x 2.5 meters — and thus is large enough to enter. Here, the notion that the environment is an integral aspect of the work is taken to another level, where each box is both a permeable space as well as a monolithic whole.

The neutral color of the concrete combines with the earth tones of the Texas plain, and the industrial nature of the forms seem intrinsically related to the abandoned air force base on which they are placed.

Inspired, as well, by the Missouri landscape in which the artist was raised, these structures grow naturally out of both Judd’s Minimalist aesthetic and from his early childhood years. In this work, he has achieved a full integration of form and space, art and environment.