Chapotraphouse

Note: this is all pulled together from tangential knowledge- and could be way off base.

Given the timing of art deco’s emergence (pre wwi in France) and rise (post wwi worldwide) - I feel its intentionality is derived from colonialism and a portrayal of the “success” of the “developed” world. Materials were extracted with more regard to grandeur than to sustainability, and made use of the large post-war labor pool domestically, and slavery/coerced labor internationally, in order to produce “grand” structures celebrating the dominance of bourgeoisie decadence. In the US, given the presence of this style in urban areas, you’ll often see large art deco buildings overshadowing the decay in which the working class lives. I believe the messaging here is inherently white supremacist/classist, in presenting this notion of a “shining city on a hill” that the bourgeoisie benefit from and the working class support with their labor.

Now that many of the iconic art deco buildings are deteriorating -capital only knows build, not maintain - this messaging needs to be conveyed in another way. Which is where corporate Memphis comes in to portray a world where there isn’t an explicit “shining city” (because it’s now too costly/porky doesn’t want to build/maintain that image) the imagery instead becomes one where we are all currently living WITHIN the shining city - with a goal of the viewer internalizing this belief. There is no class conflict, there is no exploitation, we are all walking poorly-drawn-hand-in-poorly-drawn-hand forward together.

And so while art deco emphasized the dynamic of dominance vs subservience, corporate art presents this with the modern, liberal spin that a “rising tide lifts all boats”. But in the end both are alienating to those with class consciousness. Art deco is of course beautiful, because it represents the exclusive domain of a “superior” class who appreciates the “arts”; and if you’re a poor who works in those buildings you should be grateful for the opportunity to rise to their level. Corporate Memphis is ugly in its faux “common appeal” - essentially saying “there is no domination. We’ve bypassed the end of history into a blobby present where there’s no need to consider race or class; now get on the bus and get to work (or buy our product and get to work) uncritically.”

Essentially- Art Deco represents early 20th century French colonialism and Memphis represents early 21st century American “soft” colonialism turned inward. Both re-affirm a ruling class, but do so through the standards of the day