Art and advertising - download pdf or read online

By Joan Gibbons

ISBN-10: 128252772X

ISBN-13: 9781282527720

ISBN-10: 1423728874

ISBN-13: 9781423728870

ISBN-10: 1850435855

ISBN-13: 9781850435853

ISBN-10: 1850435863

ISBN-13: 9781850435860

Art and ads are frequently visible as power enemies, with the single being unfastened from advertisement issues and the opposite based upon them. during this essentially written and wide-ranging booklet, Joan Gibbons argues really for a jointly enriching dating among the 2, exhibiting how artists have reached a much wider viewers by way of embracing the strategies and mass media of advertisements, and the way ads has hired matters and methods of up to date paintings. Charting key issues of overlap and antagonism, she appears to be like on the paintings of artists from Andy Warhol, Barbara Kruger and Victor Burgin to Sylvie Fleurie and Swetlana Heger and at landmark campaigns from Silk lower to Benetton's surprise of fact. Exploring state-of-the-art advertisements from the influential paintings of David Carson to Wieden and Kennedy's Nike campaigns and the paintings and ads paintings of Tony Kaye, she additionally seems on the expanding endorsement of paintings by means of hugely branded items equivalent to Absolut vodka, to argue that artwork and ads don't need to be at the same time particular terms.

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The move into outdoor sites usually dedicated to consumer advertising not only signals a shift in the perception of the artwork as unique and original, but also proposes a shedding of the aura that emanates from the framing of art in galleries, museums or private collections. Yet, while billboard art is accessible in the way that advertisements are, it is not always anonymous in the way that advertisements are. The work of major billboard artists was quickly identified as the product of individual authors and gained much of its status and authenticity from this fact.

As I will show, advertisers did as much in their own way as poster or billboard art to bring art to the streets in the late 1970s and 1980s. I want to finish this chapter by flagging up an acclaimed word-based advertising campaign that also made use of unconventional spaces and Art Invades and Appropriates 49 that is particularly significant because here we see cutting-edge practices in the advertising of art. com by the comparatively young award-winning agency Mother and ran for eight months from August 2000.

The posters were produced from photographic collages and were highly reminiscent of the anti-Nazi photomontage work of German artist John Heartfield in the late 1920s and early 1930s. This was especially evident in the critique of ‘big business’ in the first cycle, 1980–1984, which is thematically related to Heartfield’s The Real Meaning of the Nazi Salute (1933), in which Art Invades and Appropriates 35 Hitler’s saluting hand is seen taking a backhander from big business. 20 In effect, the relationship of the Docklands posters with the historical avant-garde extended beyond practices associated initially with the USSR to those developed by politically radical artists in the context of Nazi Germany.

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Art and advertising by Joan Gibbons

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