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

By Joan Gibbons

Paintings and ads are usually visible as strength enemies, with the only being loose from advertisement issues and the opposite based upon them. during this essentially written and wide-ranging publication, Joan Gibbons argues quite for a at the same time enriching courting among the 2, exhibiting how artists have reached a much broader viewers through embracing the strategies and mass media of advertisements, and the way advertisements has hired concerns and techniques of latest paintings. Charting key issues of overlap and antagonism, she appears 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 truth. Exploring state of the art advertisements from the influential paintings of David Carson to Wieden and Kennedy's Nike campaigns and the paintings and advertisements paintings of Tony Kaye, she additionally appears to be like on the expanding endorsement of artwork through hugely branded items corresponding to Absolut vodka, to argue that artwork and ads needn't be together unique phrases.

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

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Indeed, as founder and editor of specialist youth magazines such as Beach Culture (1989–1992) and Ray Gun (launched in 1992), Carson may be said to have been a significant force in raising the visual awareness of subcultures that have in general been characterised as disaffected – the ‘Generation X’ of Douglas Coupland’s novel of that name. Further to this, and perhaps as a result of the purchase that the work was seen to gain in these contexts, Carson’s approaches have also filtered into more mainstream magazine design and, of course, advertising, including Carson’s own work for companies such as Nike, Pepsi, MTV and Sony.

However, while Nairne’s desire to classify the Docklands poster project as art 36 Art and Advertising can be seen as expanding or even democratising the remit of art by including popular forms, it still sets up a demarcation between advertising, propaganda and art. In his desire – or need – to hang on to the category of art, Nairne reflects the persistence of a related need: to attach a name to the producer of the work, which, in the case of the Docklands Community Project ought to have been the Docklands residents as much as Leeson and Dunn.

Photograph, 72 x 48 in. Courtesy: Mary Boone Gallery, New York. I’m pregnant. ’ Such a dilemma, of course, only applies at a remove to men, making the message about gender inequality abundantly clear. Needless to say, the use of grotesque imagery or ironic copy of this sort is normally alien to consumer advertising. 41 This identification with the signature style of modern typography is interesting because, in employing these typefaces in conjunction with black and white photographs and red strap-lines, Kruger has developed a signature style of her own.

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