By Joan Gibbons
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Additional resources for Art and advertising
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.
Art and advertising by Joan Gibbons