‘Advertising doesn't sell things all advertising does is change the way people think or feel’ (Jeremy Bullmore) Evaluate this statement with referencing to selected critical theories (past and present)



  Advertising is defined in the dictionary as “to encourage sales of (e.g. a product or service) by emphasizing its desirable qualities” (Allen, 2002, p12). These days there are many different forms of advertising, we have endless amounts of products shoved into our faces daily, on television, radio, posters, billboards, flyers and stickers for example. Advertising is something in this day and age we cannot escape; it directly singles us out through our phones and on the internet.

Over the years advertising has changed, in the early years without television, advertising was illustrated upon posters, flyers, billboards, leaflets and within newspapers. Most forms of advertising were propaganda, glamorizing the world in that period. For example, early forms of advertising encouraged people to go to war and glamorized war to encourage men to fight for their country but they didn't do just that, they drew upon patriotism for their country and even in more desperate times encouraged guilt within the receiver.  Other forms of advertising, especially in America, that were solely trying to sell products still pushed patriotism in the face of the public. They used the patriotism of the community to sell products, making them believe that in buying their product, they would be a better American citizen and would be more American.
Advertising in the 1950’s was very important as this was a period of mass consumption due to the post war period and the sudden rush of new available technology. Everyone wanted to be away with the old and constantly update their homes and lifestyle with new technologies and possessions. Advertisements reinforced the idea that to be modern was to be fashionable. They became obsessed with home ownership, automobiles, and the newest technology, due to feeling that as the war and depression had come to an end, they were now entitled to a more refined lifestyle and were looking toward a brighter future.
To be successful, adverts presented very wholesome images as it was in the post war period they wanted to lift the spirits of families affected by the war and men returning back home.  Adverts in this period were directed more towards the entire family, versus to the individual today. During the 50’s men in advertising were portrayed as strong, athletic, and well dressed, they were almost always accompanied by a woman. Women were very popular in the use of advertising, they represented family life, the glue that would hold the family together, and they were the ones who ran their homes while their husband was out at work. They were depicted as classy, well dressed, maternal, sexy, and devoted to making family life easier and better.  If you look at advertising today, the majority is very contrasting to that of 50’s advertising today we don’t portray a ‘wholesome’ image, we no longer focus of such things such as a wholesome image of family, we purely focus on pushing sales in any means necessary.
 As mentioned, the definition of advertising is to encourage sales through the emphasis of the desirable aspects of a product or service. This implies something quite different to the theory that Bullmore suggests, in Bullmores theory it isn't really the product we desire, instead we are made to feel as if we need it. Though this definition given in the dictionary suggests that what advertising does is highlight why we should want it, why this product/service is amazing and better than say another competing product/service.
There are many different methods in advertising that can be employed in order to highlight or draw attention to specific more attractive areas of a product or service that they wish to make a greater impact in the viewer’s mind, therefore making it more memorable and more likely to induce a sale. The use of compelling imagery within advertising is highly important, as this is initially what draws us towards it, or in some cases big bold lettering. Advertisers often link their product with an enhanced version of reality, with the aim of locking consumers onto the cycle of spending and consumption. While the viewer’s attention is held it can provoke or even motivate its audience; it can create a range of emotions and therefore creates a range of reactions. The advantage about these forms of advertising is that they can be aimed at any sector of society, and are accessible to all. Advertising has always played a key role in the consuming industry, and we have all fallen victim at some point or other to its influence.
Advertising today is fundamentally part of capitalism and commodity culture. In commodity culture we construct our identities through the consumer products that inhabit our lives. These are the things that advertising make us feel we need in order to define ourselves, in doing so the products that we own become who we are.  “We are also alienated from ourselves since we have allowed objects to speak for us”(Williamson, 2005, p47), we feel the need to buy certain things to show who we are as people, and we look at a product and think of how everyone else will perceive us. We are made to want things we don’t necessarily need in order to keep up to date with the latest trends, the latest technology and to fit in with the rest of society that have already fallen unknowingly into the hands of the companies who have plagued our lives with their endless amounts of advertisements. Though adverts don’t only make us feel like we need these products in order to form an identity within society, they perpetuate false needs, they make us feel as though if we don’t own them we will be unhappy without them, almost as if happiness lies at the end result of every purchase. “It proposes to each of us that we transform ourselves, our lives, by buying something more”(Berger et al, 1977, p131) By doing this we believe we will be less of a person without these products, practically leaving us with no choice but to buy them in order to feel content with ourselves and who we are as a person.
Throughout the years, adverts have always generalised the population; portraying men and women in the way they think they behave, or should behave, rather than in the way men and women actually behave. In early advertisements fathers were shown as hardworking men that were the sole providers for their family, and women were portrayed as stay at home mothers and housekeepers that were almost helpless without their husbands. However this day and age, as culture has changed so has the way in which men and women are shown in adverts. Though they still try and draw upon these characteristics, men are portrayed as strong and independent, women are shown as sexy, desirable and independent.
The belief that advertisers have now is that sex sells, they push images of half-naked men and women as seen in such adverts such as Calvin Klein’s advert for boxers “Renowned for being one of the world’s leading designer underwear brands, their advertising never fails to evoke feelings of lust, or envy, over their models complete aesthetic impeccability.”(Gerrard, 2013) Dior’s advert for ‘J’adore’ or even the Gucci  ‘Guilty’ advert which has targeted in engaging a male audience in order to sell “Set like an action movie, the content of the video is clearly male-oriented, with explosions, motorbikes and sexual scenes .” (Bulman, 2011) Thus portraying both men and women in a very sexual way. They do this so that we feel as though this product will make us desirable to the opposite sex, and yet this isn’t the only thing they try and make us feel. They want us to feel like our current lifestyle without said product is unfulfilling, in each advert they show a certain lifestyle, a lifestyle that they believe we would desire, they make us feel insecure about our current selves and our current lifestyles and by doing so we desire the product believing that it will get us this lifestyle. Furthermore they want us to envy the people in the adverts, which is achieved by using either models or celebrities, but it is evident they want us to feel as though by buying this product we will then become envied by others. “She is meant to imagine herself transformed by the product into an object of envy for others, an envy which will then justify her loving herself” (Berger et al., 1977, p134) this draws upon the use of our own somewhat superficial conceited views of our self as a source of self-justification that we deserve/need and therefore want.
You could criticize adverts by saying that the methods they use may be affective yet they are also somewhat destructive. By portraying and convincing us of such ideals, lifestyles and potential gains of a product or item, there is an inevitable sense of disappointment and disheartening when we realise all is as it was before we made the purchase and once more we have been fooled. This can lead to more severe outcomes such as poverty, depression and various disorders. There is evidence to support this stating that “created a social context that may contribute to body dissatisfaction and disorder eating in girls and women” (Spettigue & Henderson, 2004) However in this sense adverts are once more incredibly effective as it leads to a vicious circle of disappointment followed by further sales to try and finally achieve the positive outcome of the false promise shown in the adverts. It could also be said that adverts don’t as such highlight or emphasise desirable lifestyles or personal qualities, but instead distort reality to an unachievable and non-existent reality, which subsequently leads to distorted concepts of how we are each perceived and how we must perceive each other, making us increasingly self-conscious and leading us to conform socially on an accumulative scale, in order to find the acceptance we crave and think we need as a result.
                Advertisements also use reification to give products human associations, the products themselves are perceived sexy, romantic, cool and sophisticated and so we are led to believe by owning these products that we become what they are associated with. These labels and generalisations allow this commodity culture to manipulate us and prevent us from living full and meaningful lives without consumption. It seeks to make us unhappy with our existing lives and existing material possessions. Though by giving products these human associations we feel more comfortable in consuming, we accept it as inevitable and natural to consume.
                Advertising is something that we will never be able to escape; it is constantly developing before our eyes. With the development of new technologies such as phones and internet it is now being sent directly to us. When you look at products on website it is logged, adverts appear on your computer screen when browsing showing you similar products, or other products from that store, being tailored specifically to show products that would be more attractive to you. We are sent adverts through text messages, our information is given out to companies when we make purchases online and they come directly to our phones so even when on the move they can try to push their products or services upon us, especially when it comes to latest or exclusive offers. Though we are not just viewing adverts on television and phone screens, call centres from these companies call us directly, either in pre-recorded messages or using actual people they contact us to try and generate direct sales so we cannot avoid or ignore them.
                Furthermore companies and brands advertise their products even more subtly that to throw their new products and offers in our face. When you finally do succumb to their trends and make a purchase in one of their stores no doubt you’ll be given it in a bag, and that bag will have their store or brand name on the side, creating even more advertisement for them. If you walk past a shop window and they are advertising all their latest stock and offers in the window, competing against other stores for the most eye catching shop window so that you want to go in and buy something. You even get small adverts for things put on the front of trolleys when you go to the supermarket, encouraging you to buy a certain product.
           Brand promotion has become a very successful marketing strategy “Businesses use it not only to show what is different or good about themselves and what's for sale, but also to keep that image alive for consumers. It usually focuses on elements that can stand the test of time, although businesses do adjust promotions based on what is happening in the market.” (Arthur, 2013) More often than not when you buy a specific branded item the logo or name of that brand will be on the product, you yourself become a walking advertisement. However this has also become the reason why people buy these items, in the belief that wearing a certain brand conveys a certain image or style that they want people to recognise when you walk down the street, to admire and know that you’ve spent that extra bit of cash on something branded rather than just some bargain you’ve picked up at a more value for money shop. This goes back to the theory of image and identity, we have allowed the things we own and the things we wear to speak to the rest of the world and tell them what kind of a person we are and what we are into, we rely on these items to do that so that we give a ‘good’ first impression.
We have also allowed these brands and these products that we buy divide our classes between those that can afford to spend so much and those that can’t. Though that’s always been a part of culture, throughout history we have been divided by what we can afford. The working classes would wear the most basic clothing, often made of cheap fabrics and something dark that could get dirty and not be too noticeable. The upper classes would wear more stylised suits and large dresses, more flamboyant, with lots of details made of the finest fabrics, topped off with expensive watches or jewellery all in order to show their wealth to the rest of the population. Even they allowed the things that they own to try and express their identity, so this is not something new to our culture.

                However we are a very consumer driven society. We rely on these forms of advertising to sustain the economy hence the massive price cuts in sales that occur in times when consumers are known to have little money to spare in order to encourage us to spend the little money that we do have. Without these forms of advertising we wouldn’t know what products are available to us, we would not know about the latest technologies and fashions. Something that has become very important to our culture and in a way required to sustain us as one of the more dominant countries. Advertising has shown its importance in society and culture by comparing to countries that do not have the luxury of being able to mass produce and mass advertise products or services and these are the ones seemed to be in the reduced quality of life and standard of living. So though we can be very critical of advertising they may well have induced the luxuries we enjoy today. So it is not realistic to assume that advertising is something we could afford to cut out of our lives as much as it might be perceived to be a hindrance.

                To conclude, the statement provided by Bullmore “advertising doesn’t sell things all advertising does is change the way people think or feel” in some respects is true. Advertising does change the way we think or feel it makes us feel insecure, unhappy with our current possessions and lifestyles and make us feel as though our lives are unfulfilled though by evoking these feelings advertising does sell things. Adverts would not be as successful if they did not create different thoughts, emotions or feelings and so companies wouldn’t have high sales ratings. Though it does beg the question of how far are advertisers willing to go to encourage buying their products, and think about how low they really are they willing to make us feel about our current appearances and lives in order to boost their sales. This leads you to consider how ethical is advertising in our culture for the boundaries are forever being pushed. Perhaps there will come a time where people no longer fall victim to these advertising tactics as more and more people are noticing the way in which advertising works and questioning it. Though realistically when something works to effectively it is very unlikely that this will ever change, we constantly are exposed to these types of advertising and so cannot escape this circle of consumerism. Furthermore in relation to the original quote by Bullmore it may once have been true due to the way in which modern day society and economy relies upon consumerism nowadays advertising has been manipulated to generate sales through enticing consumers through changing the way they think or feel.













Bibliography:

Books:

ALLEN, R., ed. (2002) The Penguin: English dictionary. 2nd edition. London, Penguin Books. p12

Berger, J., Blomberg, S., Fox, C., Dibb, M., Hollis, R. (1977) Ways of Seeing. United states, Penguin Books. pp131-134

Brierley, S. (2002) The Advertising Handbook. United Kingdom, Biddles Ltd.

Bullmore, J. (2003) More Bullmore: Behind the scenes in advertising (Mark III). Trowbridge, Cromwell Press.

McDonald, C. (1993) How Advertising Works: A review of current thinking. Guildford and Kings Lynn, Biddles Ltd.

Williamson, J., 2005. Decoding advertisements: ideology and meaning in advertising. London, Marion Boyars publisher’s LTD. p47

Internet:

Arthur, Luke. (2013) ‘What is brand promotion?’ U.S.A. [Internet] Available from <http://www.wisegeek.com/what-is-brand-promotion.htm> [Accessed 10 March 2013]

Bulman, L. (2011) ‘Gucci succeeds in engaging male consumers through their targeted Gucci Guilty movie’  London, England. [Internet] Available from <http://wave.wavemetrix.com/content/gucci-succeeds-engaging-male-consumers-through-their-targeted-gucci-guilty-movie-00732> [Accessed 10 March 2013]

Gerrrard, D. (2013) ‘Calvin Klein Concept Advertising Commercial’[Internet] Kettering, Northamptonshire, England. Available from < http://www.fashionbeans.com/2013/calvin-klein-concept-advertising-commercial/> [Accessed 10 March 2013]

LaFave, S. (2009) ‘The Marxist critique of consumer culture’ [Internet] West Valley College, California, United States. Available from <http://instruct.westvalley.edu/lafave/marxism_and_culture.html> [Accessed 21 December 2012]

McIntyre, S. (2008) ‘The psychological effects of advertising’ [Internet] Tifton, Georgia, United States. Available from <http://www.bpsoutdoor.com/blog/?p=7> [Accessed 20 December 2012]

Stephey, M.J. (2009) ’Sex Sells: Here’s Why We Buy’ [internet] Time Magazine, United States. Available from <http://www.time.com/time/health/article/0,8599,1900032,00.html> [Accessed 02 January 2013]

Journals:

Jakštienė, S., Susnienė, D., Narbutas, V. (2008) ‘The Psychological Impact of Advertising on the Customer Behaviour’, V. 3. [Accessed via: http://www.ibimapublishing.com/journals/CIBIMA/volume3/v3n7.pdf, 02 January 2013]

Spettigue, W., Henderson, K.A., (2004) ‘Eating Disorders and the Role of the Media’, 13(1), pp16-19 [Accessed via: http://www.ncbi.nlm.nih.gov, 03 January 2013]

Museums


‘A museum is a non-profit, permanent institution in the service of society and its development, open to the public, which acquires, conserves, researches, communicates and exhibits the tangible and intangible heritage of humanity and its environment for the purposes of education, study and enjoyment.’
International council of museums
(first definition 1947, this version 2007)

museum as an institution: It explores the museum through several themes:
  • historical origins of the institution.
  • The way in which ideas about objects and what they mean changes over time.
  • a short social history of visiting museums. Who was allowed to go and how were you supposed to behave?
  • The ways in which museums have been critiqued by artists
  • museums today

‘The construction of material things is not perceived as problematic. Things are what they are...
...it is not understood that the ways in which museums ‘manipulate’ material things  also set up relationships and associations, and in fact create identities’
Barthes (1977)

Key Ideas
  •  Museums have existed for centuries, but ideas about what they are and how they operate in society have changed radically over time.
  • The shift from religion as the source of meaning in the medieval world, to science and study providing answers about the world during the humanist  Renaissance, had a major impact on the ways in which people start collecting and displaying objects.
  • During the 17th early 20th centuries, the meaning of an object was seen to be  inherent in the object itself, and it was the job of the curator simply to identify  this meaning, organize the objects in a rational order, and communicate these  meanings to the audience.
  • The museums we are all most familiar with have their origin in the 19th Century industrial revolution with mass migration to towns and cities. There was a real fear of ‘the mob’. Museums were just one of the ‘disciplinary institutions’ that were set up to shape and control how people behaved.


Today, postructuralist, communication, education and literary theories all posit 
that meaning is socially constructed; so our museum object doesn't have it’s own 
meaning, but meaning is created through the process of selecting, cataloguing 
and displaying and looking at objects. Museums are in the business of ‘creating’ 
history rather than reflecting it.


 ‘Only when the cultural power of the museum is acknowledged will museums truly understand and develop their role’
Eileen Hooper-Greenhill 






The Everyday


  • it explores in what ways people individualise mass culture through altering things
  • these include utilitarian objects, to street plans, to rituals, laws and language, in order to make them their own. 
  • social science possesses the ability to study the traditions, language, symbols, art and articles of exchange that make up culture
  • Certeau argues, the activity of re-use in everyday situations produces an abundance of opportunities for ordinary people to subvert the rituals and representations that institutions seek to impose upon them
  • this picture of people who are non-artists (meaning non-creators and non-producers) passive and heavily subject to received culture
  • these tactics can reclaim autonomy from the forces of commerce, politics and culture
  • Certeau uses Foucault discapline and punish to make the analogy that procedures of everyday creativity works as any-discipline
Rodchencko's Read Room
  • constructivism- to intervene in everyday life, left wing, avant garde and of the workers
  • perception routinised - experiment with defamiliarisation to unsettle perception and open practice of seeing
  • challenged everyday perception of how fashion/clothing was used
  • Rodchencko explored photography - urban spaces
  • amongst everyday rituals
  • re-uses and functions of the memory
  • through authorities that permit everyday practice
  • poetic ways of making through familiar practices

Foucault asks how social behaviour develops historically. He asks how we can criticise the hierarchies institutions that operate society. He questions how social order is constructed and shaped into spaces and order.

Language
  • ordinary language - slang, text, email
  • popular cukture
  • experts
  • political
  • specialised
  • not homogenised as organised and signified - all changes in everyday
  • it signified activity and our expectations
  • relational everyday art practice with language exploits this to question and challenge our operation and systems of the everyday
Making do
  • includes bricolage; re-use of cultural products
  • an art of making which cannot be disassociated from an art of using
through everyday practices of moving around, seeking information and communicating with others, we are creating new ways of interacting with people, with places, with services and with screens while moving or pausing improvements

New media and making do
  • these kinds of mobile artworks that extend outside of the space device in your pocket and into surrounding public space potentially enable people to engage with mediated spatiality and argumentation landscapes in unexpected ways by generating new forms of public experience.
  • open-ended interaction
  • extends beyond relational aesthetics
  • beyond mobile gaming
  • re-spatializing and re-medicating our experience of embodied mobility

Typographies
  • A type of writing that refers to a system for mapping landscape or the contours that form a place
  • the relationship between art and place
  • the mapping of invented signs, traces and tracks that are putable
Consumption
  • ways of representation through consuming and using which is described as hidden production bu users. this is not merely social media

Contemporary Art

Spiritual to Material

contemporaneity

  • this trace through the multiple strata of contemporary art today moves from the spiritual to the sacred through materiality of art and the de-materialization of art
  • themes and variables are significant in shaping of the contemporary archive which examine in what ways it means to be contemporary
modernism- part of this experiment was to challenge the hierarchy of painting under Greenberg. Greenberg meanwhile was establishing a solid approach to painting, abstract art called formalism which is a particular branch of art and art criticism.

To challenge paintings was to challenge institutions; paintings had been religious/theology- challenged its dominance

Duchamp challenged what art was and what it worth.

Bauhaus intended to sell- designed theatres, spaces, furniture, everything that was commercially viable.

Conceptual art - Art of ideas
(1960's-1970's)
-Conceptual art shifts from an emphasis of form and aesthetics to consider the thinking process: this was considered central to arts making as the essence of art: ideas and concepts were given. Conceptualism challenges the visual and the status of the art object.

Site Specific Art

One Place after another: Site Specific Art
















Mel Bochner, Measurements room, (1969)

During the period of modernity, the art world took a turn in the direction of prioritizing function over form; meaning that aesthetics came in second. Site-specific art is created to exist in a specific place. The artist takes the location into account when considering ideas as well as when creating and planning the artwork. Critical artists started to question galleries and why where they creating artwork to go in a clean white gallery. 

Site specificity sped up the movement towards the notion of de-materialisation and de-asthetisisation.
The first model: in summary is scaled up versions of modernist gallery sculptures in response to the public's negative opinion of modern architecture. The public did not receive this well.

The Second Model:
Art as a public place, artworks appropriate to the immediate site (Nancy Hart; Dark Star Park)Art becoming part of the urban design process, the public reacted better to these forms, as they can appreciate the pieces as they are accessible and they fufill more of a purpose. Richard Serra: Tilted Arc a reaction against this movement, purposely constructed piece that achieved a lot of negative reactions from the workers of the federal building it was outside of, as a result it was redesigned in 1997 by Martha Schwartz into landscape architecture. 





(Tilted Arc 1981-89)
















The Third Model:
Art in the public interest, rise of community consultation and community participation. John Ahearn and Rigoberto Torres (South Bronx portraits) were commissioned to install sculptures outside of a police station they created four plinths featuring sculptures of black people from the community. These were removed shortly afterwards due to public outrage and accusations of racism.





















Happenings performance and encounter

1950-1970's

  • performance: dance, theatre, art, music, poetry.
  • place: environment, landscape, city, outside the gallery
  • documentation: film, photography, conversation transcripts.

Happenings are referred to as spontaneous plot-less theatrical events. They were not confined to a particular environment  form of music, visual art or theatre. 
They began evolving in New York in the late 1950's but they became popular phenomena in the 1960's and 1970's under th influence of John Cage and his theories of the importance of chance in artist creation.
Other artist who contributing to this were Claes Oldenburg, Robert Rauschenberg and Roy Lichenstein.
In Japan Gutai group and the in Europe the Fluxus group developed the original American ideals. 
And opportunity to transform a normal event into an extraordinary occurrence, through the use of everyday objects and materials taken out of context. 

In many instances artists used such venues in order to stage happenings which outraged or shocked the audience and demanded a degree of participation )e.g the happenings of Joseph beuys - Bloomsbury 1966) 

Allan Kaprow (1950's-60's)
  • A New York scene: the first public happening was Allan Kaprows eighteen happenings in six parts, (October 1959)
  • Theatre of actions; a new collage of performance
  • the blurring or art and life
Happenings possess
  • Context- the place of conception and enactment
  • its habitat - the place where it grew and the removal stage and distance from the audience
  • the myth of experience
In the everyday
  • the habitat which these pieces are performed, such as a basement, loft or street, breakdown the barriers that separates the "audience" from the performers
  • this allows for a better sense of physical interaction in a more intimate setting
the habitat or atmosphere where the piece takes place gives meaning back to how art can relate.

Gallery as off-site
  • Smithson established the gallery off-site with his site works which encountered place and site alternatives to the gallery
  • it addresses site specificity and the relation of visual culture to a variety of environments
  • it considers independent and alternative spaces


Fluxus box- creative art form that was anti-art. Mass produced with components for event/experience

The happening operates by creating an asymmetrical network of surprises without climax or consumption, this is the logic of dreams rather than the logic of most art. Dreams have no sense of time; neither do the happenings. lacking a plot and continuous rational discourse, they have no past. As the name itself suggests, happenings are always in the present tense. the same words, if there are any are said over and over.

Situation: The situationist offered a collective vision of performance as a social intervention in its continuation of the surrealist dream of overcoming the distinctions between art, politics and everyday life through critically 'constructed situations' which modified chance operations.
Cage - asserts that the purpose of art is to sober and quiet the mind so that it is in accord with what happens and therefore available and opportune

Relational Aesthetics
1990's
  • said to be rooted in happenings due to its audience relevance and Joseph Beuys idea 'Every body is an artist'
  • focussed on social practice
  • focusses on the level of interaction and social exchange that artworks produced
  • not about politics but is democratic and often critiques social and political agenda 

The Art School

To bring new creative aspects and minds into professional world - educate art - self exploration

What is the main purpose of an Art school? innovation? experimentation? originality? creative genius?

Ancient Art Schools - Aristotle


  • study of art co-existed alongside maths, science, literature, physical.
  • everything was of equal value to society

Apprenticeship model of art education - An apprentice would receive an art master, they would then copy their work until it was a near replica, they would then produce work for their master and claim is as his own. then and only then progress as an individual artist















Henry Wallis, the death of Chatterton.


Academic system dominated
  • Salon de refuses - birth starting place of modern art (art that was rejected as art)
  • 1871- School of Drawing and Fine Art Oxford - first to try and re-figure art and design and its practices, they wanted to change what art was. 
  • rise of the arts and crafts movement (1860-1910)
  • William Morris 'Art and Socialism' (1884) - developed the importance of art
  • infusion of creative into everyday life
  • Glasgow school of art 1907
  • art workers guild 1884
  • Bauhaus (1919-1933)- radical new modernist style of education
  • Vkhutemas - change the role of art - develop artists who would go out and change lives - social change; new golden age.
  • black mountain college, north Carolina USA - american modern art movement
  • John Dewey - experimental learning
  • 1955-1965, Leeds College of Art was considered the most radical and progressive, its programme at the time was influence by Bauhaus
  • 1991 - art colleges became businesses

art was redefined and conceptualised: the incorporation of uk art schools 
  • first degrees (1967) previously DipAD, you could not get a degree in art before then
  • upgrading of polytechnics (1992)
  • implementation of tuition fees, (increase in tuition fees 2012)
  • marketisation and commodification
  • instrumental approach to arts and humanities by government


Modernism in the world

when you think of what's modern around you, most of the time the first thing you think of is a high rising building that towers over the streets, with big glass windows to flood the interior with light... And we all know what those look like.
So I thought id give you some examples of things not so obvious.

In my opinion if something comes under the term modernism, it is true to itself, it doesn't hide the material its constructed from, and it serves the purpose it was created for and its timeless. This simple glass storage jar is what it is, it doesn't hide the material its made out of.

 Stainless steel bench, weather proof, easy to construct and fit... probably didn't cost a lot either.
lighting needed on both sides of the street... but why have two  lots of metal lampposts when you can have two lots of lighting on the same one. The lighting at the top is wide to create sufficient illumination.
 Most people think that modern buildings should be all glass, but how about a building that has solar panels all on one side... this is a practical and effective way of utilising naturally available energy. With  simple strip of glass windows to light the stairwell.
Compact bathroom, constructed to take up the smallest of spaces in order to make more room in high rising student accommodation  Its plastic walls make easy to clean for the constant changing in tenants, created purely for practicality.

Image analysis

The first image was produced before conscription as WWI propaganda.  We can see the little girl is reading her book, we can assume it was a book of war heroes as she has turned to her father and asked the question "Daddy what did YOU do in the Great War?" which we can see printed at the bottom of the image. We can also see the little boy is playing with toy soldiers, evidently British from the way that they are dressed. This was produced to encourage men to go to war, you could say specifically men with families, though this could also be targeted at a man who aspires to have a family. The facial expression of the father figure shows remorse and somewhat sadness, this suggests that he didn't go to war himself, and holds regret over that fact. This image was used as propaganda to make men feel like they would regret not going to war, and to encourage them to sign up. We can see in this image that there are subtle suggestions of patriotism, such as the fleur-de-lis printed on the arm chair and the red roses printed on the curtains.

The second image is quite different, it was produced in 1876 to advertise a new cooker, 'The "Uncle Sam" range' though at first glance the first thing you notice is running american theme,with the Bald Eagle, the fact that Uncle Sam himself is the host and the stars and stripes are a running theme in this image showing obvious patriotism. This image was portrayed so patriotically as it was released 100 years after american independence was declared, so it was a year of celebration though this does not suggest this was brought out because of the 100 year celebration, it is more likely that this obvious patriotism was used to help try and sell the product, Much like how almost every advert shown on TV in the UK before the London Olympics tried to link themselves to the Olympics in some way. I don't think this image is obviously selling the cooker as it isn't centred. Most adverts usually depict a lifestyle or show the product on its own, this however I feel epitomises the arrogance of America, it subtly suggest that this is the best cooker, and produces the best food and that the rest of the food of the world(shown in the list held by the world) is inferior, it is also very stereotypical to the cuisine of each of the different countries. It suggests that america has invited the world to dinner, to use this magnificent new cooker and can feed the world from it, depicting america as if it has cultural superiority.

Art and Revolution

Another strand of modernism.



















  • Russian October Revolution 1917
  • led by Lenin
  • OCTOBER (Ten Days That Shook The World)
  • 1927 Director: Sergei Eisenstein
  • 1917 – 1921 Russian civil war
 from this movement  there was a massive acceleration of visual movement

1917 – mid 1920s:  Intense artistic experimentation

Over 80% of population of Russia at this time was illiterate. The only way to spread the communist revolution message was visually.
before this there was only oil paintings, usually portraits of the wealthy/monarchy.

Red becomes a really important colour representing the spilled blood of the revolution )passion, injustice) inversely white was associated with the Saarist counter revolution - visual shorthand's to communicate political messages.
Visual language starts to emerge though we can see in the variety of pieces produced in Russia at this time that they were struggling to find their own visual persona.

Late 1920's onward 
- Lenin died.
- Lenin was replaced by Stalin whom changed Russian into a totalitarian government. Stalin decreed all experimental art should be stopped and that the only art that was allowed was socialist realism.
 -Directly after the revolution Russian artists and designers were encouraged to experiment with modernism in the west to come up with authentic Russian vocabulary in art. Some kind of experimentation was going on in design, architecture and graphic design (new, mass produce-able) and photography

There was no art market in communism, artists were employed by the state and work had to be applied in socialist forms. So artists experiments with what the nature of art actually was - art became known as constructions as they wanted to separate away from western art.

1920 saw the opening of the VKhUTEMAS – A progressive art school established by Lenin, to teach the new ideas created by the constructivists following the Revolution

This image to the right is the cover for VKhUTEMAS produced by El lissitzky

In Russia- women were seen as equals - in contrast in the west they were still being executed from professions


‘voile and prints have not just become artistically acceptable, they have reached the level of real art, and have brought the rich colours and intense ornamentation of contemporary art to the cities of our immense Republic’ Aranovich, D 1929

‘It is time to move from designing clothing to designing the structure of the fabric.  This will allow the textile industry to jettison its present excessive variety, and help it standardize and improve, at long last, the quality of its production.’ Stepanova




Sumary:

  •  Revolution = new opportunity for art to progress
  • Constructivists desire to make art useful 
  • Aim that art should help ‘construct’ new society
  • Use of new techniques and abstract aesthetic
  • By end of 1920s artistic freedom curtailed
  • 1934 Stalin decrees ‘Socialist Realism’ only