Joan Gibbons's Art and advertising PDF

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 advertisements are usually obvious as capability enemies, with the single being unfastened from advertisement matters and the opposite established upon them. during this essentially written and wide-ranging ebook, Joan Gibbons argues fairly for a collectively enriching courting among the 2, exhibiting how artists have reached a much wider viewers by means of embracing the strategies and mass media of ads, and the way advertisements has hired concerns 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 truth. Exploring state of the art ads 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 on the expanding endorsement of artwork by way of hugely branded items reminiscent of Absolut vodka, to argue that paintings and ads don't need to be collectively particular terms.

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18 The realisation of the project was facilitated by 34 Art and Advertising 5. Peter Dunn and Loraine Leeson, Docklands Community Poster Project, The Changing Picture of Docklands (1980–1990). Courtesy: Peter Dunn and Loraine Leeson. two artists who lived close to the Docklands, Loraine Leeson and Peter Dunn, who supported the residents in planning the campaign. 19 The Docklands posters were produced in two cycles: the first designed to develop awareness of what was happening to the area; the second to develop a historical perspective, showing how Docklands residents had had to struggle for better conditions in the past.

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. Even with champions such as Nairne, however, the acceptance of popular forms such as the billboard as art in Britain was slow and somewhat difficult. The reluctance to legitimise such forms is demonstrated by Declan McGonagle’s need to justify this type of work as recently as ten years after the publication of Nairne’s book.

6 Within the framework of billboard and poster art, it is perhaps only the Art Invades and Appropriates 31 (mostly anonymous) poster works produced by activist groups in the 1980s that truly escaped this dilemma and evaded complicity with the marketing system of the art world. The model provided by early Soviet art was important for the move into the streets because it denied the notion of fine art altogether and privileged forms such as advertising and propaganda that were felt to be accessible to a wider audience.

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Art and advertising by Joan Gibbons

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