By Joan Gibbons
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Additional resources for Art and advertising
There is often no one way to enter the work; rather, there are several possible points of entry and viewers have to take the one they are intuitively drawn to. The visual deployment of body copy often has a random feel to it with blocks of text colliding and overlapping or even starting to drop off at the edges. In addition, there is a preference for elusive structure and little regard for putting things the ‘right way up,’ a strategy that frees the viewer from the constraints of the conventional coordinates of the surface.
65 That an avant-garde gambit such as this is now used as a means of advertising art rather than as means of disrupting convention through art shows that conceptualism has become a form of popular, if not exactly common, currency. The question is to what extent this signals the taming of the avant-garde or to what extent it might be seen as a productive and desirable popularisation of its practices. As I have noted, it was the intention of key members of the early twentieth-century avant-garde not only to make art inclusive but also to employ art to reshape people’s lives and values.
Photo: Graham Ford. Chapter 3 From Capitalist Realism to Surrealism (and back again) Art and advertising came even closer together from the late 1970s to the present through the development of signature styles in advertising campaigns. While building brand identity through the deployment of a distinctive type of imagery, several major campaigns played down the product itself and developed strategies that were alien to advertising but familiar in art. At the same time, but in an opposite move, the commodity became central to the work of a number of neo-avant-garde artists and was displayed in a way that brought art closer to advertising.