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During one visit to an art school, I saw a lot of things. But it was the French fry boxes that made my head hurt.
Scattered throughout the school were student works that clearly were furniture (i.e. you could sit upon them). Others clearly were art (they were just for looking at). But there were some pieces of work that defied categorization. In fact, at some point I started asking myself: “Hmmm. Is that thing art or garbage?”
Out by the loading dock was a weathered plank of wood propped up against the wall. It had some pieces of wood rudely attached to its backside. Was this a low bench? An art installation? Or a piece of trash waiting to be taken to the curb?
Out by the school’s fountain was a pile of grease-stained White Castle French fry containers.
“Ah,” I said. “Clearly this is garbage.”
But once I got closer I saw the containers were attached. Was this a White Castle wind sock?
I find that pieces of so-called “studio furniture” can be a challenge to appreciate and enjoy. They challenge our perceptions of form, material and function. Truth be told, I quite like the stuff on the whole. I have several books from The Furniture Society on studio furniture and its makers that I always enjoy reading and browsing through.
But it would be foolish to think that studio furniture is a modern invention.
Though you might disagree with me, I think a piece of studio furniture has the following components. It is a piece of furniture that is both designed and built by an individual. And that person is trying to create a new style of furniture that stands apart from other historical forms.
James Krenov was likely the most famous of these makers. Art Carpenter, George Nakashima and Sam Maloof were all what I would call “studio makers.”
And if you look at the history of furniture, you’ll find studio furniture makers there such as Charles Rohlfs. Check out the quote from him on this page. How about William Morris? Nope. He wasn’t a builder. Thomas Chippendale? I think yes. Thomas Sheraton or George Hepplewhite? Again, I think yes.
That got us to thinking: Who in history would be the earliest known studio furniture maker? We need a name (not just “caveman”) and they have to be a known designer and builder.
– Christopher Schwarz
