Art vs. Design: Where Do We Draw the Line?
January 13, 2026 – Los Angeles: In the world of creative expression, we often find ourselves reaching for labels. We walk into a gallery and call the objects on the walls “Art,” then return home to use a toaster or sit on a chair we label “Design.” But as Sarah Urist Green explores in the latest Crash Course Art History, these boundaries are far more porous—and far more political—than they first appear.
The Great Divide: Intention and Utility
Traditionally, the distinction has been simple:
- Design is often defined by its practical purpose. It is an object meant to solve a problem or improve an aspect of the world, like a button, a chair, or a building.
- Art is typically seen as something created for contemplation, meant to evoke an emotional or personal reaction, often housed in museums or galleries.
However, this binary falls apart the moment we look closer. Consider Judy Chicago’s The Dinner Party. It features 39 elaborate porcelain plates, each dedicated to a significant woman in history. Technically, you could eat off them. Does that make them design? Or does their symbolic power to “give women a seat at the table” elevate them to art?
A History of Hierarchy
The separation of art and design isn’t a natural law; it’s a historical construct. In Medieval Europe, “craft” was the standard. Objects like tapestries and metalwork were made collectively or anonymously for domestic use.
The shift began in the Renaissance, when the concept of individual “genius” took hold. Painting and sculpting were elevated to intellectual pursuits, while functional objects were relegated to “skilled crafts.” By the 18th century, thinkers like Denis Diderot argued that art required “brains,” while design was merely the work of the “hand.”
Challenging the Boundaries
Throughout history, movements have consistently blurred these lines:
- The Arts and Crafts Movement: In the 19th century, this movement celebrated the handcrafted skill behind beautiful, functional objects like wallpaper and furniture.
- Art Nouveau: This style brought artistic, nature-inspired “wavy lines” to everything from cabinets to Paris Metro signs.
- Global Perspectives: Many cultures don’t share the Eurocentric divide. For example, the tampon—woven textiles from Sumatra—serves both a ceremonial function and expresses complex cultural values through sacred colors and imagery.
The Art of Identity: La Sape
One of the most vibrant examples of blurring the lines is La Sape (the Society of Ambiance Makers and Elegant People) in the Congo. These “Sapeurs” treat fashion—traditionally a functional design medium—as a high-performance art. By remixing designer clothes, they express identity and political resistance, turning the act of dressing into a curated gallery of self-expression.
Why Do We Define It?
Modern artists like Thierry Jeannot continue to push these boundaries. His work Green Transmutation Chandelier uses hundreds of discarded plastic bottles to create a functional light source. It is both a solution to environmental waste (design) and a commentary on luxury and nature (art).
Ultimately, the debate between “highbrow” art and “lowbrow” design is often a matter of opinion rather than fact. When we get bogged down in definitions, we risk missing the innovation and messiness that happen in the middle. Human creativity is far too vast to be contained by a single label. Whether it’s a porcelain plate or a designer suit, the most powerful objects are often the ones that refuse to choose a side.