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Commercial Art
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Art and Advertising
Over the past twenty-five years the relationship between art and advertising has become increasingly varied and complex, with artists appropriating the billboards and neon displays of the ad world, and advertising strategies borrowing both the tactics and imagery of contemporary art. This wide-ranging book charts key points of contact, overlap and exchange between the two fields. Joan Gibbons looks at the work of a number of artists from Barbara Kruger, Les Levine and Victor Burgin though to Sylvie Fleurie and Swetlana Heger and at cutting edge advertising campaigns including Benson's Silk Cut, Benetton's Shock of Reality and US agency Wieden and Kennedy's work for Nike. She discusses too the various collaborations and crossovers between art and advertising: the work of artist, director and creative Tony Kaye; adman turned collector Charles Saatchi and the issues of celebrity and branding that surround him; and the endorsement of art by highly branded products such as Absolut Vodka, to show that art and advertising are more mutually enriching than ever.
Pen and Mouse
Illustration has become chic again, gaining new popularity in editorial design, fashion, and advertising.Pen and Mousefeatures the work of today’s top image-makers, whose craft is considered somewhere between graphic design and fine art and whose tools are increasingly those of the digital medium. This stunning book showcases hundreds of spectacular, groundbreaking illustrations by more than 40 international artists whose work reflects a remarkably diverse range of styles. In this unique guide, leading graphic artist Angus Hyland discusses the fascinating effect technology has on today’s commercial artists—from artists working primarily by hand to those producing purely digital artwork...
Artists, Advertising, and the Borders of Art
In the first study of its kind, Michele H. Bogart explores in unprecedented detail the world of commercial art, its illustrators, publishers, art directors, photographers, and painters. She maps out the border between art and commerce and expands our picture of artistic culture and practice in the twentieth century with unexpected pairings of Norman Rockwell and Andy Warhol, J.C. Leyendecker and Georgia O'Keeffe, the Metropolitan Museum of Art and Pepsi-Cola, the avant garde and the Famous Artists Schools, Inc.
Unashamed Artists
'Unashamed Artists' is a miscellany of pieces of commercial art celebrating the contributions the artists made to the inter-war British graphic design scene For much of the 20th century it was customary for many artists, when finding themselves with family responsibilities, to turn reluctantly to commercial art for a living, whilst waiting to be recognised as "fine" artists. 'Unashamed Artists' is a celebration of those artists who saw commercial art as a valid outlet for their talents, and who felt that a commissioning brief stimulated rather constrained creativity; they were not only not ashamed, they were proud of what they had chosen to do. The book covers some 50 years of British commercial art from the 1920s and includes accounts of iconic work by such artists as Tom Purvis, Tom Eckersley, Austin Cooper, Eric Fraser, Frank Newbould, and Francis Marshall. AUTHOR: Ruth Artmonsky trained as a psychologist. On her retirement from her associate directorship of a leading psychometric consultancy she ran a small art gallery. She has written and published a number of books on British mid-20th century art. 100 colour 10 b/w
Creative Enterprise
In the face of unparalleled growth and a truly global audience, the popularity of contemporary art has clearly become a double-edged affair. Today, an unprecedented number of museums, galleries, biennial-style exhibitions, and art fairs display new work in all its variety, while art schools continue to inject fresh talent onto the scene at an accelerated rate. In the process, however, contemporary art has become deeply embedded not only in an expanding art industry, but also the larger cultures of fashion and entertainment. Buskirk argues that understanding the dynamics of art itself cannot be separated from the business of presenting art to the public. As strategies of institutional critique have given way to various forms of collaboration or accommodation, both art and museum conventions have been profoundly altered by their ongoing relationship. The escalating market for contemporary art is another driving force. Even as art remains an idealized activity, it is also understood as a profession, and in increasingly obvious ways a business, particularly as practiced by star artists who preside over branded art product lines.
