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By Joan Gibbons

Art and ads are usually noticeable as power enemies, with the single being loose from advertisement issues and the opposite established upon them. during this essentially written and wide-ranging e-book, Joan Gibbons argues particularly for a jointly enriching dating among the 2, exhibiting how artists have reached a much wider viewers via embracing the strategies and mass media of ads, and the way ads has hired matters and methods of latest 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 reduce 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 seems on the expanding endorsement of paintings through hugely branded items similar to Absolut vodka, to argue that artwork and ads needn't be jointly particular terms.

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The radical wing of the late twentieth-century avant-garde in art did not just appropriate forms and approaches from the historical avant-garde, but took their works into the ‘street’. Again this is highly reminiscent of practices established in Russia shortly after the October Revolution of 1917, when the notion of fine art was discredited and replaced by the more directly socially relevant categories of agitational propaganda art (agit-prop), laboratory art and production art. 46 Of the three types of ‘art’, it is agit-prop art that prefigures the practices taken up by Kruger, Levine and other artists who invaded the streets, including Jenny Holzer, who began her work in public spaces with electronic displays of verbal messages (for example, Protect me from what I want, Piccadilly Square, London, 1991).

A now renowned poster – What Does Possession Mean to You? 7% of our Population owns 84% of our Wealth (fig. 4) – illustrates these hard-hitting statistics with an image of romantic fulfilment and sexual promise typical of the consumer advertising of the period, ironically turning the strategies of consumer advertising against themselves and exposing the contradictions of capitalism. Although What Does Possession Mean to You? 9 At this point, it is tempting to see a connection between the development of these approaches in Burgin’s work and the mounting of a major Arts Council 32 Art and Advertising 4.

A now renowned poster – What Does Possession Mean to You? 7% of our Population owns 84% of our Wealth (fig. 4) – illustrates these hard-hitting statistics with an image of romantic fulfilment and sexual promise typical of the consumer advertising of the period, ironically turning the strategies of consumer advertising against themselves and exposing the contradictions of capitalism. Although What Does Possession Mean to You? 9 At this point, it is tempting to see a connection between the development of these approaches in Burgin’s work and the mounting of a major Arts Council 32 Art and Advertising 4.

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