By Joan Gibbons
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Extra info for Art and advertising
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.
Art and advertising by Joan Gibbons