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The Good-Morrow: twin hemispheres of art and design

Wise, K ORCID: 0000-0001-9558-7112 and Tregloan, K 2017 , 'The Good-Morrow: twin hemispheres of art and design', in P Stupples and J Venis (eds.), Art and Design: History, Theory, Practice , Cambridge Scholars Publishing, Newcastle upon Tyne, pp. 145-162.

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My face in thine eye, thine in mine appears, And true plain hearts do in the faces rest; Where can we find two better hemispheres, Without sharp north, without declining west?John Donne’s poem The Good-Morrow (1633) offers a model to spatialise the relationship between the disciplines of art and design. Donne refers to a Platonic ideal of love in which two halves of a sphere come together to form a perfect whole, and through this, a new world. Donne’s text can suggest an “interdisciplinary” approach to art and design: the two halves comingle, creating new forms of language as well as new geographies. These themes have informed the authors’ explorations of both interdisciplinary poetics and new spatial relationships, and underpin the following chapter. The focal point of this discussion is Wrong Way Time by Fiona Hall. This inaugural exhibition at the new Australian Pavilion in the Giardini of the 56th Venice Biennale was presented in 2015. The exhibition was curated by Linda Michael, Deputy Director and Senior Curator at Melbourne’s Heide Museum of Modern Art. The Australian Pavilion was designed by Denton Corker Marshall Architects. This pavilion and exhibition has offered an opportunity for the authors to reconsider the perspectives, practices and contexts of Art and Design as well as their nexus.

Item Type: Book Section
Authors/Creators:Wise, K and Tregloan, K
Keywords: interdisciplinarity, creative arts
Publisher: Cambridge Scholars Publishing
Copyright Information:

Copyright 2017 Peter Stupples, Jane Venis and contributors

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