By Joan Gibbons
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Additional resources for Art and advertising
7% of our Population owns 84% of our Wealth (1976). Courtesy: Victor Burgin. 12 Lef writers and artists sought to transform social and political awareness at a deeper level through a radical restructuring of language (both visual and verbal) and were to preﬁgure the way that Burgin and other late twentieth-century artists sought to redeﬁne the ‘language’ of art by appropriating the forms of advertising. It is also signiﬁcant that the preferred methods of representation adopted by Lef writers and artists were those of the mass media, for example, the photograph, the magazine Art Invades and Appropriates 33 and, most importantly for the relationship between art and advertising, ‘the placard’ or poster.
As I will show, advertisers did as much in their own way as poster or billboard art to bring art to the streets in the late 1970s and 1980s. I want to ﬁnish this chapter by ﬂagging up an acclaimed word-based advertising campaign that also made use of unconventional spaces and Art Invades and Appropriates 49 that is particularly signiﬁcant because here we see cutting-edge practices in the advertising of art. com by the comparatively young award-winning agency Mother and ran for eight months from August 2000.
4 As Lisa Phillips has noted, the relationship between art and the media in the 1980s was complicated because, in simultaneously criticising the system and beneﬁting from it, artists seemed to be having their cake and eating it. 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.
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