Art and Advertising (Art and... Series) by Joan Gibbons

By Joan Gibbons

Paintings and advertisements are usually visible as capability enemies, with the only being unfastened from advertisement issues and the opposite established upon them. during this essentially written and wide-ranging e-book, Joan Gibbons argues particularly for a collectively enriching courting among the 2, exhibiting how artists have reached a much wider viewers via embracing the strategies and mass media of advertisements, and the way advertisements has hired concerns and techniques of up to date artwork. Charting key issues of overlap and antagonism, she seems to be 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 minimize to Benetton's surprise of truth. Exploring state-of-the-art advertisements from the influential paintings of David Carson to Wieden and Kennedy's Nike campaigns and the artwork and ads paintings of Tony Kaye, she additionally seems to be on the expanding endorsement of paintings by way of hugely branded items resembling Absolut vodka, to argue that artwork and advertisements don't need to be collectively unique phrases.

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Extra resources for Art and Advertising (Art and... Series)

Sample text

28 Levine also confirmed that the importance of choosing the billboard as a medium was the fact that the works would be out on the street and seen by a significant number of people. ’29 It is, of course, much more difficult for unique works of art to have this sort of directly contagious effect, even when disseminated through infectious media such as television or magazines, since their exposure to the public is limited to interested audiences rather than inserted freely into public spaces. In addition to the advantages offered in terms of commanding public attention, Levine settled upon the medium of the billboard because he also believed it allowed a radical contribution to the methodologies of both art and advertising.

63 The form the campaign took was that of fly-posters on street furniture, pavements, walls and even trees (fig. 9). However, rather than imitating advertising copy, the creatives simulated the sort of labels that accompany artworks in an exhibition and treated the site as an artwork. For example, the poster on junction boxes read ‘Junction Box, 1971, steel, paint, wiring, electricity, 100 x 120 x 50 cm’; the wording on the pavement flyer read ‘Pavement, 1962, concrete slabs, cement, shoe prints, dog excrement, chewing gum, 8000 x 15050 x 10 cm.

Quotations from ‘iconic’ cultural figures are brought in with regularity to lend weight to Carson’s espousal of intuition. These include the scientist/philosopher Albert Einstein, the psychologist Carl Jung, and the designer Paul Rand, and are simultaneously supported by a number of essays devoted to the theme of intuition. Simultaneity is a key word in trying to put a style such as Carson’s into words. 43 This ‘all-atonceness’ or simultaneity is evident in the way that texts, motifs and images vie with one another rather than conform to any conventional hierarchical Wordplay 27 organisation.

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