Ron Arad

Navigating the intersection of artistic expression and utilitarian design, Ron Arad emerged as a revolutionary figure who consistently pushes beyond established norms, crafting works that defy simple categorization. In his remarkable piece "Oh, the Farmer and the Cowman Should be Friends," Arad seamlessly incorporates American cultural references into a functional masterpiece that transcends mere utility.

This extraordinary wall installation consists of fifty brilliantly polished stainless steel elements, each meticulously shaped to represent individual contiguous states of America (with Michigan and New York each requiring two distinct components). When assembled, these elements coalesce into a magnificent cartographic display spanning nearly nineteen feet in length and thirteen feet in height. The combination of reflective surfaces with precise geometric forms creates an imposing visual statement that transforms the surrounding space.

The installation's intriguing title references a memorable song from Richard Rogers' 1943 musical production Oklahoma!. The narrative centerpiece of this classic American musical portrays the romantic relationship between a cowboy and a farmer's daughter. During the musical's second act, as tensions between farming communities and cattle ranchers reach their peak, this particular song emerges as a plea for reconciliation and mutual respect:

"But the farmer and the cowman should be friends. Oh, the farmer and the cowman should be friends. The cowman ropes a cow with ease, the farmer steals her butter and cheese, but that's no reason why they can't be friends."

The title's selection suggests Arad's contemplation on America's sociopolitical divisions. His artistic vision extends beyond creating functional objects to crafting symbolic statements about contemporary society. By incorporating this reference into his design, Arad invites viewers to contemplate broader social dynamics while engaging with the physical artwork. The piece exemplifies his capacity to embed thoughtful commentary within striking design.

Arad continues to distinguish himself in the design landscape as a pioneer who effortlessly traverses the boundaries between artistic expression, functional design, and—as evidenced in this shelving system—cultural commentary. In this remarkable installation, abstract geographic boundaries manifest as tangible physical forms. Through this compelling creation, Arad challenges us to reconsider conventional thinking and perhaps imagine a society where divisions—like those between the metaphorical farmer and cowman—might ultimately dissolve.