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Aspén, Lisa. "Art and Advertising." Thesis, Linnéuniversitetet, Institutionen för samhällsvetenskaper, SV, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-12540.
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The thesis examined whether there is a distinct boundary between art and advertising. The collected data showed how art and advertising are linked to each other and also differ from each other, in particular through the latter half of the 1900’s. What was happening in society came to have great impact on what happened in art and advertising. In postwar Germany, capitalism realism evolved from the German pop art where the art was removed from the art gallery and placed on the streets where the people were, in an era that was characterized by a gap between the rich and the poor. Capitalism Realism went on to advertising which at the time was using the techniques of subliminal persuasion and later turned into a post-modern advertising. The study included examples of artists who collaborate with advertising, where advertising has worked artistically and how the artist became a trademark. The study also showed that there are strong objections in the art world to working with advertising, but not vice versa. Advertising seems happy to work with arts.
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Raley, Gabrielle. "Between art and advertising the production, organization, and culture of commercial art /." Diss., Restricted to subscribing institutions, 2010. http://proquest.umi.com/pqdweb?did=2023816031&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.
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Bickerstaff, Meghan Triplett. "Okay, Maybe You Are Your Khakis: Consumerism, Art, and Identity in American Culture." Oxford, Ohio : Miami University, 2004. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=miami1092258380.
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Kennedy, Adam James. "Branded art : advertising promotion and the cultural economy." Thesis, Kingston University, 2009. http://eprints.kingston.ac.uk/20258/.
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Mon, Shuk-lin Shereen. "An urban communication tool the Centre for Advertising and Communication Arts /." Click to view the E-thesis via HKUTO, 1997. http://sunzi.lib.hku.hk/hkuto/record/B31983571.
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Delaney, Michelle Anne. "Advance work : art and advertising in Buffalo Bill's Wild West." Thesis, University of Strathclyde, 2018. http://digitool.lib.strath.ac.uk:80/R/?func=dbin-jump-full&object_id=30538.
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This analysis of the visual record of Buffalo’s Bill Wild West posters in the United States provides the first scholarly interpretation focused on the commercial print production and related cultural impact of the show on American and international audiences, and is divided into two sections: Inventing Buffalo Bill’s Wild West, and Visualizing Buffalo Bill’s Wild West. Part One interprets the history of the art, advertising, and commercial prints developed for the Wild West. Part Two includes overview and analysis of the visual culture of the Wild West for U.S. tours, the importance of the Strobridge Lithographing Co. and the city of Cincinnati as a commercial printing hub, and the Wild West diplomacy and international perspectives of the program following the successful 1893 season. The evolution of the art and advertising of Buffalo Bill’s Wild West is linked to the highly publicized life of William F. Cody, and his exposure to the art and landscape of the American West. Chapters in each part of this study consistently incorporate elements of Cody’s life, his interest in American art, and his friendships with successful artists. Chapter One, The Art of Buffalo Bill’s Wild West, William F. Cody, and the American West, presents a biography of Cody within that context: his celebrated life and times, and the art of the American West that influenced him. Chapter Two, Advertising the Wild West: Cody and Cooke, introduces the professional relationships crucial to Cody’s success as a performer and entrepreneur leading the Wild West team, including the impact of general publicity agent Louis E. Cooke on Cody’s artistic and business decisions over several decades. Chapter Three, The Wild West Company and Commercial Printers, establishes significant advances in lithographic printing following the American Civil War, introducing the printing firms contracted with the show, and the artists and photographers instrumental in advancing the art of the Wild West. Chapter Four, The Visual Culture of the Wild West in the United States, defines the history of the three most prominent printing companies in the development of color lithographic posters for the Wild West—A. Hoen & Co., of Baltimore, MD; Courier Lithographic Co., of Buffalo, NY, and Enquirer Job Printing Co., of Cincinnati, OH—and the unique poster art developed through the relationships between Cody, the owners, and artists at the companies. Chapter Five, The Strobridge Lithographing Company and Cincinnati Show Printers, explores the prominence of the city of Cincinnati on American lithography and Strobridge and Enquirer as leaders in circus and traveling show poster production, including those for the Wild West. Chapter Six, Wild West Diplomacy and Going Global, expands on the changes in the Wild West with the introduction of the Congress of Rough Riders of the World, and considers Cody’s ongoing role in promoting international peace and diplomacy amid America’s emerging imperial role in the world. Numerous artists, photographers, and lithographers collaborated to create the dynamic and effective imagery for Cody and the Wild West between 1883 and 1913. Newly accessible digital and archival collections provide new opportunities for the analysis and documentation of the art created to advance the celebrity of 'Buffalo Bill' and foster the national and international success of the Wild West. The artwork conveyed a carefully crafted and sometimes nuanced version of how the West was won, in which Cody, himself, was always central. The surviving posters and photographs, programs, newspaper accounts, personal correspondence and expense records, confirm the process and intent behind the Wild West advertising phenomenon that fixed the performers and performances into the national memory and American history.
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Contreras, R. Sandra V. "Strategic aesthetics in advertising campaigns : implications for art direction education." Thesis, Queensland University of Technology, 2012. https://eprints.qut.edu.au/53222/1/Sandra_Romero_Thesis.pdf.
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For over half a century art directors within the advertising industry have been adapting to the changes occurring in media, culture and the corporate sector, toward enhancing professional performance and competitiveness. These professionals seldom offer explicit justification about the role images play in effective communication. It is uncertain how this situation affects advertising performance, because advertising has, nevertheless, evolved in parallel to this as an industry able to fabricate new opportunities for itself. However, uncertainties in the formalization of art direction knowledge restrict the possibilities of knowledge transfer in higher education.
The theoretical knowledge supporting advertising art direction has been adapted spontaneously from disciplines that rarely focus on specific aspects related to the production of advertising content, like, for example: marketing communication, design, visual communication, or visual art. Meanwhile, in scholarly research, vast empirical knowledge has been generated about advertising images, but often with limited insight into production expertise. Because art direction is understood as an industry practice and not as an academic discipline, an art direction perspective in scholarly contributions is rare. Scholarly research that is relevant to art direction seldom offers viewpoints to help understand how it is that research outputs may specifically contribute to art direction practices. This thesis is dedicated to formally understanding the knowledge underlying art direction and using it to explore models for visual analysis and knowledge transfer in higher education.
The first three chapters of this thesis offer, firstly, a review of practical and contextual aspects that help define art direction, as a profession and as a component in higher education; secondly, a discussion about visual knowledge; and thirdly, a literature review of theoretical and analytic aspects relevant to art direction knowledge. Drawing on these three chapters, this thesis establishes explicit structures to help in the development of an art direction curriculum in higher education programs. Following these chapters, this thesis explores a theoretical combination of the terms ‘aesthetics’ and ‘strategy’ as foundational notions for the study of art direction. The theoretical exploration of the term ‘strategic aesthetics’ unveils the potential for furthering knowledge in visual commercial practices in general.
The empirical part of this research explores ways in which strategic aesthetics notions can extend to methodologies of visual analysis. Using a combination of content analysis and of structures of interpretive analysis offered in visual anthropology, this research discusses issues of methodological appropriation as it shifts aspects of conventional methodologies to take into consideration paradigms of research that are producer-centred. Sampled out of 2759 still ads from the online databases of Cannes Lions Festival, this study uses an instrumental case study of love-related advertising to facilitate the analysis of content. This part of the research helps understand the limitations and functionality of the theoretical and methodological framework explored in the thesis.
In light of the findings and discussions produced throughout the thesis, this project aims to provide directions for higher education in relation to art direction and highlights potential pathways for further investigation of strategic aesthetics.
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Peng, Huihui. "Young People's Attitudes on Art Infusion Advertising on Social Media: Focus Groups with Chinese Students." Thesis, Virginia Tech, 2017. http://hdl.handle.net/10919/78373.
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In China, advertisements posted by online influencers on social media platforms have become a new trend of marketing. Through the lenses of art-infusion theory and the entertainment overcoming resistance model, this study focuses on a specific advertisement posted by a Chinese online influencer and explores whether this advertisement appeals to Chinese young people and why. Five focus group sessions were conducted with 29 Asian college students to explore the impact of artwork in advertising on participants' attitudes toward the ad and the advertised product. The results showed that 1) participants' attitudes toward the ad were affected by the presence of artwork, and 2) entertainment features such as narrative structure and liking of the author contributed to overcoming resistance to advertising. The findings of the study suggest practical implications for advertising professionals as well as art promoters.Master of Arts
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Hubbard, Philippa. "The art of advertising : trade cards in eighteenth-century consumer cultures." Thesis, University of Warwick, 2009. http://wrap.warwick.ac.uk/2272/.
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This thesis examines graphic trade cards in eighteenth-century consumer cultures in Britain, France and North America. Trade cards were single-sheet commercial notices promoting the names and locations of individual trades-people alongside the goods and services they supplied. They formed part of a larger category of prints distributing economic information to buyers and sellers. However, the production, role and function of trade cards made them distinct from other forms of commercial advertising. I examine their modes of production and use to suggest the part they played in the professionalisation of retail practices as well as the fashioning of vocational identities for tradesmen. I consider the consumer profile that trade cards targeted and suggest that they appealed to distinct sets of shoppers who read the cards in conjunction with other texts, graphic prints and educative illustrations in books and magazines. Trade cards functioned as multimedia advertisements for an audience interested in cultures of knowledge as well as shopping and new consumer goods. I examine how early engravers used trade card commissions to raise their profile as imaginative artists. I consider the ways in which trade cards supported long-term socioeconomic relationships between buyers and sellers over time and space, and examine their roles as invoices and gifts in systems of credit. I am particularly interested in understanding how trade cards functioned uniquely as promotional notices and mediatory devices for a limited period in the history of consumer culture. The final chapter examines French and American trade cards. In their national contexts, trade cards advertised through a culturally-encoded graphic and textual vocabulary familiar to native consumers. They helped develop and disseminate the emblems and symbols that promoted national identities, agendas and priorities at the end of the eighteenth century. I extend this analysis beyond national geographic boundaries to demonstrate how trade cards also functioned as international business cards, supporting commercial networks in global trade.
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Brandse, Simone. "Preconscious perception and persuasion: the physiology of visual art and advertising." Thesis, Boston University, 2002. https://hdl.handle.net/2144/27604.
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Muirheid, Amanda J. "Visual Culture within Comprehensive Art Education and Elementary Art Curriculum." Digital Archive @ GSU, 2011. http://digitalarchive.gsu.edu/art_design_theses/80.
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This thesis addresses why a comprehensive art education curriculum needs to merge with visual culture in order to better serve current elementary students today. The review of literature supports this theory and proves that the two approaches work together to make learning relevant and effective. The units of study provided make up a guideline that show teachers how to include visual culture into the current comprehensive art education structure. This allows students to bring their own ideas and experiences into the classroom, and results in making the visual arts more personal. Following this curriculum will help students own their education and ultimately gain higher level thinking and learning in the visual arts as well as other subject areas.
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McComb, Don E. "Mediating modernism : the expert discourse on art and advertising in the 1920s." Diss., University of Iowa, 1994. https://ir.uiowa.edu/etd/5357.
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Holmes, Gary R. Spears Nancy Elizabeth. "Symbolic visuals in advertising the role of relevance /." [Denton, Tex.] : University of North Texas, 2008. http://digital.library.unt.edu/permalink/meta-dc-9089.
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Mon, Shuk-lin Shereen, and 蒙淑蓮. "An urban communication tool: the Centre for Advertising and Communication Arts." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1997. http://hub.hku.hk/bib/B31983571.
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Holmes, Gary R. "Symbolic visuals in advertising: The role of relevance." Thesis, University of North Texas, 2008. https://digital.library.unt.edu/ark:/67531/metadc9089/.
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Relevance has been applied to various conditions in the marketing literature but no single definition has been developed. A single clear definition will be helpful to researchers investigating relevance in the marketing and consumer behavior fields. Confusion also exists in the literature regarding to what extent a symbolic visual in an advertisement is relevant. Many researchers are also calling for empirical evidence of a linkage between relevance and response through a theoretical measure of relevance. The central theory used in this dissertation is Sperber and Wilson's (1995) theory of relevance (TOR). TOR can help researchers and marketing managers by explaining how consumers may interpret visuals in advertising. TOR explains why some visuals thought to be unconnected with the product become relevant in advertising. This study makes the assertion that TOR has been underutilized and even ignored by some researchers in past marketing literature. Thus, TOR is used to provide greater explanatory power of consumers' interpretation and response to advertising visuals than what is currently realized by researchers and marketing managers. A reliable measure of relevance was developed using TOR as a foundation. Experiments were conducted to empirically test TOR and support was found for most aspects of the theory. This dissertation makes several contributions to the consumer behavior literature. These contributions include: 1) clarifying the definition of relevance in advertising, 2) developing a tentative measure of relevance, 3) providing an explanation of how non-relevant visuals produce effects expected for relevant visuals as occurred in experiments conducted by Mitchell and Olson (1981) and Miniard, Bhatla, Lord, Dickson and Unnava (1991), 4) showing how relevance of symbolic visuals in advertisements relates to specific consumer responses, and 5) offering suggestions for how the theory of relevance can be used by researchers and marketing managers to gain a better understanding of consumers' interpretation of advertising visuals.
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Houston, Sarah Louise. "Douglas Coupland: Text as Art." Digital Archive @ GSU, 2008. http://digitalarchive.gsu.edu/art_design_theses/22.
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This thesis discusses the art of contemporary Canadian artist Douglas Coupland and his use of textual art. It will explore his combinations of text and art through four major themes that are recurrent in both his writings and visual art: abundance, advertising, technology and translation and draw conclusions on the various reasons that text has become such an important component of his body of work. Overall, the thesis seeks to show Coupland’s unique use of text to create a modern take on Pop art that is able to highlight issues in society.
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Smith, C. Adair (Christina Adair) 1970. "Monument and sign : the intersection of art, advertising and protest in the public sphere." Thesis, Massachusetts Institute of Technology, 1999. http://hdl.handle.net/1721.1/49725.
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Thesis (M.C.P.)--Massachusetts Institute of Technology, Dept. of Urban Studies and Planning, 1999.Includes bibliographical references (leaves 102-106).
In the late 20th Century, a common strategy has developed among a small but highly visible cross section of artists. They create and enact transient events, 'interventions', in public spaces in a way that both refers to the spatial language of the site and offers a critique of its dominant values. What distinguishes their work even further is their reliance on the instruments of mass media, and their interest in redefining its capabilities: the projector, the electronic sign, and the billboard are three such instruments whose potential for communication in the city have been creatively mined in their service. By exploring the ways in which these technologies may be put to new uses within the urban domain, and doing so from an interrogative standpoint, so that values, both explicit and latent, are questioned, these artists begin a process of engagement with the viewer which works to redefine the functions of the site. The intersection of the artist, the instrument, and the public sphere act, momentarily, to challenge typical notions of public space and public discourse within it. That such strategies have been adopted by commercial interests also shifts the paradigm further, and sets forth new conditions by which typical notions of public space and social action are challenged. I have chosen three cases through which to examine this process: the artists Krzysztof Wodiczko and Jenny Holzer, and the advertising campaign of the Benetton Group. My central questions around their work are as follows: what makes up the strategy of the artists and company when they put forward an impermanent critique in a public space? What "public" is being spoken to in a work like this, taking place as it does in the civic realm? Since the controversy surrounding many of the projects by Wodiczko, Holzer, and Benetton lies in the interplay between social values and spatial territory, this study also examines the wider community and institutional interests at work in the site. It traces the policies of institutions and municipalities and their role in granting or denying permission for the work, as well as the roles of stakeholders around the site in supporting or impeding it. The sites that I will discuss are Union Square Park and Tompkins Square Park, both in New York City, Times Square and 42nd Street, New York, and Bunker Hill and Monument Square in Charlestown, MA. Two defining features of these sites are that drastic changes to the built environment often took place not long after the artists enacted their projects in them, and that there is a existing conflict among stake holding groups which is often centered around it. This research seeks to determine what role the artist played in the changes to the site and the struggles over it.
by C. Adair Smith.
M.C.P.
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Rowbottom, Andrea. "The fine art of advertising and education, how is a deaf secondary school student's interpretation and understanding of the works of the masters, in advertising a reflection of his/her art history experience?"." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1996. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/NQ28157.pdf.
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Ren, Zhi Jie. "Exploring the art of persuasion :an analysis of the appeal methods used in television advertising for children's food and beverage." Thesis, University of Macau, 2011. http://umaclib3.umac.mo/record=b2569234.
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Gluibizzi, Amanda. ""The Entire Visual World": Art, Design, and 1960s New York." The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1342617358.
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Grahle, Christian René. "Organizing creativity : the role of aesthetic knowledge in advertising creative processes." Thesis, University of St Andrews, 2015. http://hdl.handle.net/10023/11868.
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This thesis presents the results of research which investigated how creative processes in advertising agencies are organized and the role aesthetic understandings play therein. Indepth accounts describing how creative processes in advertising agencies are organized were not well characterized in the extant literature. This was surprising, given the confusion that existed about whether or not advertising practitioners share similar tastes. Whereas some research suggests highly homogenous taste patterns, other research, reporting about severe conflicts in advertising agencies, suggests that the contrary is true. Consequently, also research on taste-making processes and thus the ways through which tastes and collective action are negotiated was missing. This research aims to address these gaps in the literature by providing an in-depth account of the way specific practices creative processes are organized by analysing how practices and tastes interlink as well as by providing insights into the ways through which taste and collective action are sustained at advertising agencies. To do so, qualitative research at a leading London-based advertising agency was carried out over a period of five months. Two sets of practices by which the advertising creative processes were organized were identified. In addition, four types of tensions between both sets of practices and thus different tastes among advertising practitioners, depending on the practices in which they were immersed, were found. Moreover, ways in which tensions were resolved and thus how different tastes were negotiated were identified. By doing so, this research closes the above gaps in the literature and reveals that at advertising agencies' creative processes and taste-making go hand in hand. Finally, practical insights for managers in the advertising industries, aiming to foster collective engagement, collaboration and conversations, and creative expression in creative advertising processes as well as suggestions for future research are offered.
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Гаркуша, К. С., and О. І. Пригара. "Мистецтво реклами." Thesis, Сумський державний університет, 2017. http://essuir.sumdu.edu.ua/handle/123456789/66810.
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Основною метою психологічного впливу реклами є створення і збереження такого
інтересу до товару, що стимулював би дії до його придбання. Емоційний компонент
установки реклами надає найбільший вплив на її ефективність; тому, передусім,
необхідний облік емоційних компонентів реклами. Рекламний образ створює конкретні
уявлення про предмет і певні почуття, які у потрібному напрямі впливають на
поведінку глядача і читача. Рекламний образ формується з урахуванням індивідуальних
особливостей рекламованого предмету й спільних рис, властивих групі предметів.
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Tjernström, Sune. "Finrummets reklam : Appropriation av konstverk i annonser." Thesis, Södertörns högskola, Institutionen för kultur och kommunikation, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-14830.
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The purpose of this study was to analyze recent appropriations of works of art in advertising. Why was art infused into magazine advertisements, how were the works of art tampered with to achieve commercial goals, how well did they function together with the ad copy? What did these advertisements want? What did the artwork contribute to the commercial message? These were some of the questions asked in the study that involved a closer look at four appropriations: one based on a battle painting by the Swedish 1900th century artist Carl Wahlbom, with a commercial message printed on top; one a collage including an 18th century portrait of Marie Antoinettte by Elisabeth Vigée-Lebrun; one advertisement was influenced by Dutch 1700th century still lifes, and, finally, one paraphrased Velázquez’s famous painting Las Meninas from 1655. Companies behind the advertisements featured a Swedish trade journal, a fashion exhibition in Paris, a shop for kitchen utensils in Stockholm, and an up-scale department store in Madrid.The ads, in different ways based on works of art, were evaluated as reasonably successful commercial messages. These ads, however, hardly qualified as works of art in their own right – if that was the intention. A critical observer would tend to see the ads as ways of borrowing cultural capital from the world of art.One observation made as a result of the study was the need for insights into possible interpretations of the original work of art not to have the commercial message misunderstood.
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Taylor, Alex J. "Forms of persuasion : art and business in the 1960s." Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:7dc16529-27d9-4b3c-97f8-814dffb0019e.
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In the 1960s, art and business engaged in a sweeping but now largely forgotten romance. Corporations rushed to install art in their foyers and on their urban plazas. Many bought or commissioned works of art to display inside their factories and offices. They reproduced art in their advertisements and annual reports, and profiled it in press stunts and photo ops. They developed promotional art exhibitions that toured across the country and around the world. This dissertation considers how such artworks supported – but also sometimes disrupted – the marketing, public relations, lobbying and personnel strategies of large-scale corporate enterprise. By reconstructing this diverse field, this dissertation contends that art was a key tool for the burgeoning ‘persuasion industry’ of the sixties. Both in the United States and further afield, artists and businesses worked together to make artworks function as ‘forms of persuasion’, instruments by which the consensus of the corporation’s constituents – workers, consumers and regulators – could be secured. The case studies focus on range of companies active in this field, exploring the phenomenon in three thematic chapters, covering the use of pop art by the packaged goods business, the role of abstract painting in the workplace and the value of metal sculpture for the steel industry. It is argued that the practices described through these examples represent a defining cultural phenomena of sixties art, one that challenges the conventional art historical alignment of its avant-garde with the decade’s famed radical politics, protest and counterculture.
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Callens, Anne-Céline. "Création photographique publicitaire et industrie. Le cas des Editions Paul-Martial." Thesis, Lyon, 2016. http://www.theses.fr/2016LYSES031.
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Durant la période de prospérité des années 1920, avec l’accroissement de la consommation résultant de la seconde révolution industrielle, de nouvelles stratégies commerciales se mettent en place. Alors que la publicité moderne en est à ses premiers balbutiements, les Éditions Paul-Martial — qui sont créées à Paris en 1926 — deviennent, grâce à leur fondateur Paul Martial Haeffelin, une des entreprises les plus novatrices dans le domaine. Elles proposent plusieurs types de prestations : la conception de lignes graphiques, de logotypes, d’affiches, d’annonces, d’encarts qui sont publiés dans les magazines, l’édition de brochures, catalogues et ouvrages publicitaires, ou encore la conception de stands d’exposition. L’entreprise se spécialise dans le domaine industriel. Elle est dotée d’un atelier de graphisme et de typographie, d’une imprimerie et d’un studio photographique. Entre 1929 et 1960, de nombreux reportages extérieurs sont également réalisés sur l’ensemble du territoire français à la demande de grandes sociétés comme la Compagnie des Forges et Aciéries de la Marine et d'Homécourt, les Établissements Arbel, la Société des aéroplanes Henry Potez, la SNCF, Schneider & Cie, Moët & Chandon ou encore l’OTUA. Les archives du studio photographique de l’entreprise sont aujourd’hui réparties dans quatre grandes collections : celle du musée d’art moderne et contemporain de Saint Étienne Métropole, celle du département des estampes et de la photographie de la Bibliothèque nationale de France, celle du Kunstmuseum de Bâle et celle du collectionneur Marc Pagneux. Elles permettent de constater que l’entreprise a œuvré à la promotion de l’industrie durant plus de trente ans en développant une esthétique photographique propre à l’époque, faisant preuve de nombreuses affinités avec l’avant-garde artistiqueDuring the prosperity period of the 1920’s, new commercial strategies are implemented since the consumers society expands as the result of the second industrial revolution. At the beginnings of modern advertising, the Éditions Paul-Martial — created in Paris in 1926 — became, thanks to their founder Paul-Martial Haeffelin, one of the most innovative compagny in this field.Specialized in the field of the industry, the Éditions Paul-Martial offer several kinds of services : the design of graphical lines, logos, posters, advertisements, inserts that are published in magazines, the edition of brochures, catalogs and advertising works, or the design of exhibition stands. The compagny is equipped with a workshop of graphic design and typography, a printing press and a photographic studio. From 1929 to 1960, many external reports were also made on the whole French territory at the request of large companies such as the Compagnie des Forges et Aciéries de la Marine et d'Homécourt, the Établissements Arbel, the Société des aéroplanes Henry Potez, the SNCF, Schneider & Cie, Moët & Chandon or the OTUA.Today, the archives of the company’s photographic studio are mainly divided into four large collections: that of the musée d’art moderne et contemporain de Saint-Étienne Métropole, of the departement des estampes et de la photographie of the Bibliothèque nationale de France, of the Kunstmuseum Basel and that of the Marc Pagneux collection. Their study allows to note that the Paul Martial editions have worked for the promotion of industry for over thirty years. During the years between the two world wars, the photographers of the company have developed an aesthetic which is characteristic of this period, having many affinities with the avant-garde art movement
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Pfarr, Theresa Faye. "PAINT MEDIATIONS." VCU Scholars Compass, 2004. http://scholarscompass.vcu.edu/etd_retro/132.
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AbstractPAINT MEDIATIONS Theresa Faye Pfarr, Master of Fine ArtA thesis submitted in partial fulfillment of the requirements for the degree of Master of Fine Art at Virginia Commonwealth University.Virginia Commonwealth University, 2004Major Director: Ruth Bolduan Associate Professor, Painting and Printmaking DepartmentMy paintings are contentions. I work in response, answer, and reaction to the media world. I carry a collection of incongruent images in my mind, bits and parts of the images I deal with everyday. The images stuff my mailbox, clutter my space and get in my head. I am questioning, though praising, the exploits of advertising and its mode of symbolic function. Whether their exploits are ethical is really of no concern to me in comparison to our cultural belief systems, which allow them. Advertising doesn't exploit children more than they are exploited already. In my paint investigations I forge and draw parallels to relocate meaning, as does the media. Through painting figure into space and space into figure things begin to dissolve or evolve, making the paintings both figure and of figure. The children in my paintings claim their spaces and close out the adult world.
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Lessa, Laís Quintella Malta. "Pop art e propaganda: uma relação interdisciplinar." Universidade Presbiteriana Mackenzie, 2009. http://tede.mackenzie.br/jspui/handle/tede/2726.
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Previous issue date: 2009-02-03Fundo Mackenzie de Pesquisa
Through an interdisciplinary analysis between art and publicity, this study seeks to establish the relationship amid the propaganda spread in the post-war period in the United States and the Pop Art Movement. Focusing the changes that have occurred in the season with these two issues will prove that what happened with the Movement Pop and advertising, may be established as a homogenous relationship, in which symbols, icons and popular myths were portrayed in ways similar to works by artists and advertising of the period studied. This uniformity will be revealed through a semiotic analysis of advertisements and works of the movement, to develop critical values that might widen the scope of professional actuation of communication, and allow the knowledge and approach the subject, in reflection of their creations committed to the social and economic juncture of the season.
Por meio de uma análise interdisciplinar entre arte e publicidade, o presente estudo busca estabelecer a relação em meio à propaganda veiculada no período do pós-guerra nos Estados Unidos e o Movimento Pop Art. Evidenciar as transformações ocorridas na época com essas duas temáticas irá comprovar que o ocorrido com o Movimento Pop e a publicidade, pode ser estabelecido como uma relação homogênea, na qual símbolos, mitos e ícones populares eram retratados de maneiras similares em trabalhos de artistas e publicitários do período estudado. Esta homogeneidade será revelada por meio de uma análise semiótica entre anúncios publicitários e obras do movimento, no sentido de desenvolver criticamente valores que possam ampliar as possibilidades de atuação dos profissionais da comunicação, assim como permitir o conhecimento e a abordagem do tema, na reflexão de suas criações comprometidas com a conjuntura social e econômica da época.
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Bush, Alexandra J. "Jane Avril, Toulouse-Lautrec, and Paul Sescau: Advertising a Fin-de-Siècle Danseuse." Scholarship @ Claremont, 2019. https://scholarship.claremont.edu/scripps_theses/1401.
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This thesis examines the relationships cabaret dancer Jane Avril formed with artist Toulouse-Lautrec and photographer Paul Sescau. As the star dancer of the Moulin rouge, Avril enlisted these two artists to create promotional images for her that set her apart from other performers in the competitive entertainment scene of the 1890s. This ability to direct her own advertisement methods was a creative opportunity that was available to few women during this time. These three figures were friends and artistic partners who lived in the outcast of society in fin-de-siecle Montmartre where they worked together and supported one another. Their many collaborations prove that Avril as well aware of the power she had in commissioning the most successful avant-garde artists of her time. This thesis studies Toulouse Lautrec’s painting Jane Avril Leaving the Moulin Rouge in chapter one, his poster, Jardin de Paris in chapter two, and Paul Sescau’s photograph of Avril in chapter three. Moving from Toulouse-Lautrec’s painting and poster to Paul Sescau’s photograph, I will show how Avril utilized multiple mediums to disseminate her image across Paris. Ultimately, mass media afforded Avril the most direct agency in shaping her public image. These collaborations prove that Toulouse-Lautrec in particular had an acute awareness of the public persona Avril crafted as a sophisticated yet unorthodox dancer.
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Sugden, Kimberly J. "Animal ambassadors and talking products : a cultural history of advertising trade-characters." Thesis, University of Oxford, 2013. http://ora.ox.ac.uk/objects/uuid:4487a28c-b634-4d62-85ec-00afd3f2739b.
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Washington, Tiffany Elena. "Selling Art in the Age of Retail Expansion and Corporate Patronage: Associated American Artists and the American Art Market of the 1930s and 1940s." Case Western Reserve University School of Graduate Studies / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=case1349292575.
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Pucci, Alicia Meredith. "Consuming Surrealism in Modern Mexican Advertising: Remedios Varo's Pharmaceutical Illustrations for Casa Bayer, S.A." Master's thesis, Temple University Libraries, 2018. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/516897.
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Art HistoryM.A.
My thesis investigates an interdisciplinary narrative of the transatlantic migration of Surrealism to Mexico during the 1940s. I focus on the ways exiled European Surrealists approached notions of Mexican material culture in a hybrid society where local traditions coexisted with a global modernity. Looking to popular and print culture outlets, I concentrate on how Mexican material culture was perceived, promoted, and marketed through a Surrealist lens. Specifically, I consider the collaboration of the German pharmaceutical company Casa Bayer, S.A. and exiled Spanish-born Surrealist Remedios Varo, who produced a series of medical advertisements during her first decade in Mexico City from 1943 to 1949. Through an examination of Varo’s work, my thesis explores the changing boundaries of fine and commercial art that resulted from the efforts of artists who participated in modern mass culture and consumerism. I investigate the significance of her Surrealist advertisements for Casa Bayer as a material culture bound on one side with fine art and the other side with the development of Mexican advertising. This case study supports my argument that Surrealism, as a transnational aesthetic, was one alternative way of demonstrating the new cultural meanings of advertising in an ambiguous, modern Mexican society. Examining Varo’s illustrations in light of the movement of western Europeans to Mexico and the country’s commitment to modern progress explains why the artist negotiated her past avant-garde sensibilities with her Mexican present.
Temple University--Theses
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Vasquez, Bernal Edvi. "La variación en los procesos de trabajo de la Dirección de arte publicitaria por la incursión en Instagram." Bachelor's thesis, Universidad Peruana de Ciencias Aplicadas (UPC), 2019. http://hdl.handle.net/10757/653030.
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La investigación es desarrollada para conocer cómo se ha cambiado los roles de la dirección de arte publicitaria por medio de la incursión de Instagram. Ello, será analizado en base a las piezas gráfica, ya que es donde se plasma el trabajo del director de arte publicitario. El contexto gira sobre el mercado de comida saludable. En cuanto al público de investigación son los profesionales que intervienen en el proceso de la elaboración de las piezas gráficas para Instagram, para ellos hemos escogido a tres perfiles los directores de arte, redactores creativos y los community manager.
La metodología que se aplica es de tipo cualitativa, ya que ayuda a conocer la perspectiva de los profesionales sobre el tema. Además, la técnica usada es por medio de entrevistas a profundidad. El objetivo principal es analizar cómo se ha modificado los procesos de la dirección de arte publicitaria aplicados en los gráficos publicados en el Instagram de negocios de comida saludable. En cuanto a los resultados veremos cómo ha variado el tipo de contenido, estructura de publicaciones, designación de labores a los profesionales, tiempo de ejecución, actualizaciones digitales y la flexibilidad en la composición de la pieza gráfica.The research is developed to learn how the roles of advertising art direction have changed through the incursion of Instagram. This will be analyzed based on the graphic pieces, since that is where the work of the advertising art director is reflected. The context revolves on the healthy food market. As for the research public, they are the professionals involved in the process of creating graphic pieces for Instagram, for them we have chosen three profiles of art directors, creative editors and community manager. The methodology that is applied is of qualitative type, since it helps to know the perspective of the professionals on the subject. In addition, the technique used is through in-depth interviews. The main objective is to analyze how the advertising art direction processes applied in the graphics published on the Instagram of healthy food businesses have been modified. As for the results, we will see how the type of content, publication structure, designation of laboratories to professionals, execution time, digital updates and flexibility in the composition of the graphic piece have varied.
Tesis
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Blackman, Derek Louis. "All these things." Thesis, University of Iowa, 2015. https://ir.uiowa.edu/etd/1549.
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This collection of work grew from a guided journey and an exploration of ideas that has not only encouraged my growth as an artist, but as a responsible citizen sharing this world with others. Over the duration of this evolution I have become increasingly attentive to what I feel is our collective manufactured existence; the things that we produce and the influence that this production has on our lives. From the built environment, material and immaterial commodities, advertising and marketing, consumption, sustainability, etc., all these continuously shifting factors act as constants in our lives and shape our psychosocial development.
To better understand this, I have delved into looking at both myself and others for evidence of the various effects from living in a consumer culture. Drawing also from extensive research in the history of as well as contemporary theories on production, mass media culture, addiction, exploitation of people and resources, and the growth of technology, I look to increase not only my own awareness on these subjects, but to also educate others.
My process of making work is a meditation in order to better facilitate inspection intertwined with introspection. A finished piece becomes an externalization of this effort, but not as a conclusion. The various mixed media included in All These Things is the culmination of an ongoing search that encourages conversation and further evaluation of our roles in a commodity culture. By coming at this multi-faceted topic from different directions, I am offering a radial view into the many possible considerations for what it means to be a consumer and how this affects us all.
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Buccellato, Steven. "AdTech Interactive Media Network /." Online version of thesis, 1994. http://hdl.handle.net/1850/11757.
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Pošius, Mindaugas. "Reklama kaip sociokultūrinis reiškinys paauglių požiūriu." Master's thesis, Lithuanian Academic Libraries Network (LABT), 2008. http://vddb.library.lt/obj/LT-eLABa-0001:E.02~2008~D_20080924_183155-67379.
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Šiuo metu reklama yra vienas svarbiausių faktorių norint pritraukti kuo daugiau klientų, formuoti jų poreikius ir taip užtikrinti, kad jie taptų nuolatiniais klientais. Dažnai tais nuolatiniais klientais tampa paaugliai. Paaugliai yra ypatinga žiūrovų grupė. Kitaip nei suaugusieji, jie ne visada supranta, kas yra reklama ir ko siekia jos kūrėjai. Pagrindinis veiksnys, lemiantis kaip vaikas ar paauglys suvokia reklamą, yra jo amžius.
Tyrimo objektas — paauglių požiūris į reklamą kaip sociokultūrinį reiškinį. Tyrimo tikslas — išsiaiškinti paauglių požiūrį į reklamą kaip sociokultūrinį reiškinį. Hipotezė: kadangi reklama ugdo vartotojišką visuomenę, todėl išsiaiškinus paauglių požiūrį į reklamą kaip sociokultūrinį reiškinį galėtume suprasti, kaip jie ją suvokia ir pateikti rekomendacijas kaip reikėtų mokyti paauglius suvokti reklamą. Tyrimo uždaviniai: 1) remiantis literatūra atskleisti reklamos kaip sociokultūrinio reiškinio ypatybes; 2) aptarti paauglystės amžiaus tarpsnio psichologinius aspektus; 3) ištirti paauglių požiūrį į reklamą kaip sociokultūrinį reiškinį. Tyrimo metodai. Teoriniai: literatūros nagrinėjančios reklamos kaip sociokultūrinio reiškinio bei paauglystės amžiaus tarpsnio psichologinius ypatumus sisteminė analizė. Empirinis: konstatuojamasis tyrimas (anketinė VII-X klasių mokinių apklausa). Matematinės statistikos metodai: procentinė duomenų analizė, koreliacinė analizė, chi kvadrato kriterijaus taikymas.
Išvados. 1. Reklama atspindi mūsų kultūrą, politiką... [toliau žr. visą tekstą]Nowadays advertising is one of the major factors used in order to attract as many clients as possible, form their needs and in such way guarantee that they would become regular clients. Usually these regular clients are teenagers. They are a special group of spectators. Unlike adults, they do not always understand what advertising is and what their creators seek for by it. The principal factor, influencing how a child or a teenager understands advertising, is his age. Objective of the research is teenagers’ attitude towards advertising as a socio-cultural phenomenon. The aim of research is to find out teenagers’ attitude towards advertising as a socio-cultural phenomenon. The hypothesis is the following: whereas advertising develop consumer society; therefore, having analyzed teenagers’ attitude towards advertising as a socio-cultural phenomenon, we could understand how they conceive it and offer recommendations how to teach teenagers to understand the advertising. The goals of research: 1) to reveal the features of advertising as a socio-cultural phenomenon in accordance with the bibliography; 2) to discuss the psychological aspects of the stage of adolescence; 3) to analyze teenagers’ attitude towards advertising as a socio-cultural phenomenon. Research methods. Theoretical: system analysis of bibliography analyzing psychological peculiarities of advertising as a socio-cultural phenomenon and of the stage of adolescence. Empirical: declarative research (questionnaire... [to full text]
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Noga, John Koly. "Making It PersonalProgramming Untitled (The New Plan)A Billboard Artwork by the Artist Felix Gonzalez-Torres." University of Akron / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=akron1404941895.
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Nasulevičiūtė, Laima. "Socialinės reklamos projektas Įspėjimai." Master's thesis, Lithuanian Academic Libraries Network (LABT), 2010. http://vddb.laba.lt/obj/LT-eLABa-0001:E.02~2010~D_20100125_163204-27154.
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Grafinio dizaino vystymasis, reklama, vizualiosios reklamos objektai, reklama ir jos objektai, plakatai ir socialinės problemos, tai dalis mūsų visuomenės reiškinių. Atsižvelgiant į tai, kad socialinių problemų vis daugėja, o efektyvios šviečiamosios informacijos nėra daug, savo magistrinio darbo temą ir praktinį darbą siejau su socialinės reklamos sritimi. Socialinės reklamos reikalingumas yra labai svarbus atsižvelgiant į šių dienų aktualijas ir kintančią mūsų visuomenę.
Magistrinio darbo tema: Socialinės reklamos projektas „Įspėjimai“. Ją sudaro dvi potemės: „Karas keliuose“ ir „Prekyba žmonėmis“ .
Gilindamasi į šias problemas, ir esamų problemų grafinius sprendimus, mano pasirinkimu kuriant grafinio dizaino projektą „Įspėjimai“ buvo aktualizuojamos naujos visuomenės socialinės problemos, pateikiant įspėjimus vizualiai interpretuojant daiktų išskirtines savybes. Nagrinėjamos problemos ir jų svarba yra pateikti kitokiame kontekste, labiau gilinantis į pačių svarbiausių aktualijų turinį ir projekto vizualinius išskirtinius pateikimus, kurių pasėkoje, projekto įspėjimai ir bendra jungianti socialinių plakatų vizualizacija ir jų „kitoks pateikimas“ leido į šias problemas pažvelgti kur kas svarbiau ir aktualiau.
Grafinis plakatų sprendimas tik dar labiau pabrėžia ir atskleidžia kiekvieno „Įspėjimo“ turinį ir reikšmę. Techniniame projekte sukurta dešimt plakatų, kiekvienai potemei po penkis. Pasirinktas atskiras tik potemę atitinkantis grafinis... [toliau žr. visą tekstą]The graphic design, development, advertising, visual advertising items and its objects, posters, and social problems are a part of our public events.My disertation and paractical work are linked to the social advertising This is because due to the fact that social problems are increasing, and there is not enough effective educational information to the public. Social advertising is very important in our dayly lives. There is a big necessity of taking into account the current challenges and changes in our society. The thesis of my disertation is based on a graphic design project called „Warning“ in a social advertising . It consists of two sub-themes: "Human Trafficking" and "War on the roads". My choice of creating a graphic design Project called "Warning" was based on up to date of our new society social issues and the given notice of the visual interpretation on the items ,this is because of their unique characteristics. After examining all these problems and their importance I have provided a different context, further explores and the most important, relevant content and exceptional visual design submissions, which came up as result of „Warning“. The project is linked with the social visualization and posters.The different presentation makes us to look at these issues from more important and relevant sides.. The solution of the graphic posters is highlighted in a disclosure.The technical side of my project consits of ten posters which... [to full text]
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Sánchez, Flores Miguel. "Entre la comunicación y el arte: una mirada a los primeros afiches peruanos." Conexión, 2017. http://repositorio.pucp.edu.pe/index/handle/123456789/114728.
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The present article is an approximation to the first stage of the development of the Peruvian posters of the late fifties and sixties. The text is questioned on the two dimensions with which these first posters are born: communication and art, and also on the attempt to match precisely its esthetic dimension with its informative and commercial function. The text also identifies many of the first exponents, renowned graphic artists, who found in the design of posters, covers and commercial logos a space not only to develop their artistic practice but also a source of habitual income. Precisely, the article question those two dimensions —which do not seem to be faced in the beginning— and which agree favorably in the development of advertising graphics and also of Peruvian art. Finally, the article asks about the function of the poster and poses the hypotheses about what makes a poster transcend its informative function and make it remain in time as an object of collectible art, as happened with some of these first Peruvian posters.El presente artículo es una aproximación a la primera etapa del desarrollo del afichismo peruano de fines de los cincuenta y de los años sesenta del siglo pasado. Se cuestiona sobre aquellas dos dimensiones con las que estos afiches nacen: la comunicación y el arte, y también sobre el intento por hacer coincidir justamente su dimensión estética con su función informativa y comercial. Asimismo, el texto identifica a muchos de los primeros exponentes, reputados artistas gráficos, que encontraron en el diseño de afiches, portadas y logos comerciales un espacio no solo para desarrollar su práctica artística sino también una fuente de ingreso habitual. Precisamente, el artículo se cuestiona sobre aquellas dos dimensiones —que no parecen enfrentadas en un principio— y que coinciden favorablemente en el desarrollo de la gráfica publicitaria y también del arte peruano. Por último, se pregunta sobre la misma función del afiche y plantea hipótesis sobre qué es lo que hace que trascienda su función informativa y permanezca en el tiempo como un objeto de arte coleccionable, como sucedió con algunos de estos primeros afiches.
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McClain, William David Ross. "Reverse Actualization." Thesis, University of Iowa, 1999. https://ir.uiowa.edu/etd/5377.
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Mačiukaitė, Romualda. "Socialinė reklama prevencine tema "Manija"." Master's thesis, Lithuanian Academic Libraries Network (LABT), 2006. http://vddb.library.lt/obj/LT-eLABa-0001:E.02~2006~D_20060115_175247-47658.
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Social advertising is a widely accepted means evoking the sense of responsibility in people and helping to deal realistically with the problems of social risk groups of people (narcotic and alcohol addiction, violence, etc.). Social advertising not only spotlights these problems and suggests ways of solving them, but also promotes help and tolerance for the members of the above mentioned social risk groups.
The object of the social advertising on the preventive subject ‘Mania’ is polygraphic press: posters, booklets, pocket calendars and table calendars.
Six urgent social problems are dealt with in this work: indifference, narcotic addiction, tobacco addiction, violence, compulsion and alcohol addiction because people unconsciously reject the denial. The moral should be made indirectly, allowing the consumer himself/herself to comprehend the negativity of the problem.
Therefore, I use the associatives in my works allowing individuals to conceive the process of creation as the essential peculiarity of the individual’s life and social environment in respect to idealistic culture and society. Associatives give space for interpretations in connecting one’s knowledge with new information.
The main hypotheses in the work are the following ones: preventive advertising is expected to have an effective informative influence using associative symbols in respect to action and place; the outlined stylistics of the prospect makes contrast with a sharp preventive subject.
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Mattos, Paula de Vincenzo Fidelis Belfort. "Apropriações de imagens artísticas e arquitetônicas pela mídia." Universidade de São Paulo, 2007. http://www.teses.usp.br/teses/disponiveis/16/16133/tde-19052010-085029/.
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Este trabalho apresenta releituras de imagens consagradas na história da arte e da arquitetura, constantes em materiais publicitários e em veículos de comunicação, assim como em fachadas arquitetônicas, visualizadas na cidade de São Paulo, no período que compreende a virada do século XX para o XXI. As releituras publicitárias focam as imagens que se tornaram famosas no mundo contemporâneo e privilegiam as que fazem referências ao mundo de tradição clássica, embora seja possível encontrar outros momentos da história, também evidenciados nas propagandas. Nas imagens arquitetônicas, enfocou-se principalmente nos aspectos de fachada que apresentam referências advindas do mundo clássico. Observou-se, a partir das duas leituras, que as referências são utilizadas pelo aspecto simbólico que elas assumem ao longo da história.This thesis shows reinterpretation of consecrated images Art History and Architecture that are constantly found in advertising pieces and the media as well as in architectonic faces of buildings in São Paulo from the XX to XXI centurys transition. The reinterpretation of the advertising pieces focus on images that became famous in the contemporary world and highlight the ones that refer to the world of classical tradition, even though, it is possible to find other historical moments also highlighted in the advertisements. It was noticed from the two reinterpretations that those references are used because of the symbolic aspect they take throughout history.
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Millhouse, Llewellyn David. "Fantasy in Public." Thesis, Griffith University, 2018. http://hdl.handle.net/10072/380458.
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This thesis consists of artworks and an exegesis in response to the question: How can the appeal of advertising narratives aimed at contemporary Australian youth culture be scrutinised through restaging narrative content? The exegesis will be structured around a chronological reflection on studio outcomes, interspersing evaluation of exhibited works with relevant theoretical frameworks and significant practices within this field of research. In response to the dense implicit ideological content of narrative in advertising and the historical field of cultural texts responding to consumer capitalism, the central argument of this exegesis will formulate a practical research methodology that enacts sustained scrutiny of an advertisement’s narrative appeal. In working towards a research methodology, this exegesis will assess the potential of appropriative art production to critically respond to contemporary youth-oriented advertising. Taking into account the pervasiveness of oppositional and ironically complicit narratives within contemporary advertising culture, this research will use a method of appropriation as over-identification to restage advertising narratives that relate to my personal experience, my identity and the values of my community.Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
Queensland College of Art
Arts, Education and Law
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Ferreira, Maria Alice S. "Cenas em cartaz: intersecções de uma comunicação visual urbana da Paris oitocentista e da São Paulo contemporânea." Pontifícia Universidade Católica de São Paulo, 2011. https://tede2.pucsp.br/handle/handle/4357.
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Previous issue date: 2011-12-05The research aims to trace a historical overview, critical and analytical about the posters nineteenth-century Paris and its importance for the development of visual communication in the same way as the poster-art study in Sao Paulo at the beginning of the century, locating them within call Urban Art, and reflecting on the effects of communication, that interfere with the contemporary visuality. Consequently, analysis of visual inheritance brought the beginning of the twentieth to the twenty-first century and its intersections. The research problem is to investigate the transit of visuality from modern to contemporary, from the object visualities poster and how these make up the urbanity of these periods. Secondly, if this is the question of how the sign represents a space of transgression and the hypothesis that it really opens up new possibilities for the development of visual languages. Finally, the main objective of the thesis attempts to reflect on the connections between objects from similar motives of urban representation and convergence between the arts and communications from the object poster. The corpus will consist of posters of the last two decades of the nineteenth century until about 1914, produced and exhibited in the city of Paris by the artists Jules Cheret, Mucha, Steinlen, L. Capiello, Grasset, Toulouse-Lautrec. As well as art posters, displayed in the city of Sao Paulo in the first decade of this century produced by anonymous designers within the scope of visual Art-Urbana. The methodology will be applied to research literature review and survey of the iconographic posters and photographic records of nineteenth-century art posters pasted in the city of São Paulo between 2009 and 2011. From this iconography is intended to compare the look of the cities of Paris and Sao Paulo. This study is supported in the conceptions of modernity, Walter Benjamin, historiographical references in graphic design in Art History and Urban in the frame of Peircean semiotic to trim the analysis of the object. The project, therefore, are relevant to the contemporary study of communication as it ponders the questions of the poster as an object of communication within the Belle Epoque and contemporary aesthetic and possible relationships between them
A pesquisa pretende traçar um panorama histórico, crítico e analítico a respeito dos cartazes oitocentistas parisienses e sua importância para o desenvolvimento da comunicação visual, assim como da mesma maneira estudar o pôster-arte em São Paulo neste início do século XXI, localizando-os dentro da chamada Arte Urbana, e refletindo sobre seus efeitos de comunicação, que interferem na visualidade contemporânea. Consequentemente, analisar as heranças trazidas da visualidade do começo do século XX para o século XXI e suas intersecções. O problema da pesquisa é investigar o trânsito da visualidade do moderno para o contemporâneo, a partir do objeto cartaz e como estas visualidades compõem a urbanidade desses períodos. Em segundo lugar, se faz presente a indagação de como o cartaz representa um espaço de transgressão e a hipótese de que ele realmente traz novas possibilidades para o desenvolvimento das linguagens visuais. Por fim, como principal objetivo a tese tenta refletir sobre as conexões entre os objetos a partir de motivos de representação urbana similares e as convergências entre as artes e as comunicações a partir do objeto cartaz. O corpus se constituirá por cartazes das duas últimas décadas do século XIX até mais ou menos 1914, produzidos e expostos na cidade de Paris pelos artistas Jules Cheret, Mucha, Steinlen, L. Capiello, Grasset e Toulouse-Lautrec. Bem como por pôsteres-arte, expostos na cidade de São Paulo na primeira década do século XXI produzidos por designers anônimos, dentro do âmbito da visualidade da Arte-Urbana. A metodologia aplicada à pesquisa será de revisão bibliográfica, bem como levantamento iconográfico dos cartazes oitocentistas e registros fotográficos dos pôsteres-arte colados na cidade de São Paulo entre 2009 e 2011. A partir dessa iconografia pretende-se comparar as visualidades das cidades de Paris e São Paulo. O presente estudo está amparado nas concepções de modernidade de Walter Benjamin, nas referências historiográficas do design gráfico, na História da Arte Urbana bem como no referencial da semiótica peirceana que aparará as análises do objeto. O projeto, portanto, se mostra relevante para o estudo contemporâneo das comunicações já que se propõe refletir sobre as questões do cartaz como objeto comunicacional dentro da Belle Époque e da contemporaneidade e as possíveis relações estéticas entre eles
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Ambrosio, Jeanie. "Mirror Images: Penelope Umbrico’s Mirrors (from Home Décor Catalogs and Websites)." Scholar Commons, 2018. https://scholarcommons.usf.edu/etd/7466.
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As the artwork’s title suggests, Penelope Umbrico’s "Mirrors (from Home Décor Catalogs and Websites)" (2001-2011), are photographs of mirrors that Umbrico has appropriated from print and web based home décor advertisements like those from Pottery Barn or West Elm. The mirrors in these advertisements reflect the photo shoot constructed for the ad, often showing plants or light filled windows empty of people. To print the "Mirrors," Umbrico first applies a layer of white-out to everything in the advertisement except for the mirror and then scans the home décor catalog. In the case of the web-based portion of the series, she removes the advertising space digitally through photo editing software. Once the mirror has been singled out and made digital, Umbrico then adjusts the perspective of the mirror so that it faces the viewer. Finally, she scales the photograph of the mirror cut from the advertisement to the size and shape of the actual mirror for sale. By enlarging the photograph, she must increase the file size and subsequent print significantly, which distorts the final printed image thereby causing pixelation, otherwise known as “compression artifacts.” Lastly, she mounts these pixelated prints to non-glare Plexiglas both to remove any incidental reflective surface effects and to create a physical object. What hangs on the wall, then, looks like a mirror in its shape, size and beveled frame: the photograph becomes a one-to-one representation of the object it portrays. When looking at a real mirror, often the viewer is aware of either a reflection of the self or a shifting reflection caused by his or her own movement. However, the image that the "Mirror" ‘reflects’ is not the changing reflection of a real mirror. Nor is it a clear, fixed image of the surface of a mirror. Instead the "Mirrors" present a highly abstract, pixelated surface to meet our eyes. The "Mirrors" are physical objects that merge two forms of representation into one: the mirror and the photograph, thus highlighting similarities between them as surfaces that can potentially represent or reflect almost anything. However, in their physical form, they show us only their pixelation, their digitally constructed nature.
Penelope Umbrico’s "Mirrors" are photographs of mirrors that become simultaneously photograph and mirror: the image reflected on the mirror’s surface becomes a photograph, thus showing an analogy between the two objects. In their self-reflexive nature, I argue that Umbrico’s "Mirrors" point to their status as digital photographs, therefore signaling a technological shift from analog to digital photography. Umbrico’s "Mirrors," in altering both mirrors and photographs simultaneously refer to the long history of photography in relation to mirrors. The history of photography is seen first through these objects by the reflective surface of the daguerreotype which mirrored the viewer when observing the daguerreotype, and because of the extremely high level of detail in the photographic image, which mirrored the photographic subject. The relation to the history of photography is also seen in the phenomenon of the mirror within a photograph and the idea that the mirror’s reflection shows the realistic way that photographs represent reality. Craig Owens calls this "en abyme," or the miniature reproduction of a text that represents the text as a whole. In the case of the mirror, this is because the mirror within the photograph shows how both mediums display highly naturalistic depictions of reality. I contend that as an object that is representative of the photographic medium itself, the shift from analog to digital photography is in part seen through the use of the mirror that ultimately creates an absent referent as understood through a comparison of Diego Velázquez’s "Las Meninas" (1656). As Foucault suggests that "Las Meninas" signals a shift in representation from the Classical age to the Modern period, I suggest that the "Mirrors" signal the shift in representation from analog to digital.
This latter shift spurred debate among photo history scholars related to the ontology of the photographic medium as scholars were anxious that the ease of editing digital images compromised the photograph’s seeming relationship to truth or reality and that it would be impossible to know whether an image had been altered. They were also concerned with the idea that computers could generate images from nothing but code, removing the direct relationship of the photograph to its subject and thereby declaring the “death” of the medium. The "Mirrors" embody the technological phenomenon with visual addition of “compression artifacts,” otherwise known as pixelation, where this representation of digital space appears not directly from our own creation but as a by-product of digital JPEG programming. In this way they are no longer connected to the subject but only to the digital space they represent. As self-reflexive objects, the "Mirrors" show that there has been a technological transformation from the physically made analog photograph to the inherently mutable digital file.
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Gadd, Daniel, and Erik Reimers. "How White Is Gold? A study of whether, to what extent and why the white is rewarded in advertising contests." Thesis, Linköpings universitet, Medie- och Informationsteknik, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-119949.
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Vitt har länge gått hand i hand med det minimalistiska och enkla, och har en gemensam historia med den estetik och uttryck som återfinns i vår kultur i Sverige. Det gäller för vår arkitektur såväl som vår klädstil och visuella uttryck i den formgivning som skapas. Det vita spelar därför en stor roll för formgivaren precis som reklamtävlingar spelar en stor roll för reklambyråerna i Sverige likväl som internationellt. Det är i dessa som reklambyråerna tävlar om att producera starkast kommunikation och för att marknadsföra sig gentemot nya kunder. Syftet med den här studien är att se om det finns ett samband mellan det vita och reklam genom att undersöka om det vita i printannonser premieras olika i kategorin för tryckta medier mellan den svenska reklamtävlingen Guldägget och de två internationella reklamtävlingarna CLIO Awards och Eurobest. Om så är fallet undersöks också i vilken utsträckning och varför det vita premieras. För att ta reda på detta har mätningar av det vita i samtliga vinnande bidrag i de tre tävlingarna de senaste tio åren genomförts. Utöver detta har intervjuer med nio art directors och creative directors på ledande byråer i Sverige genomförts. De viktigaste slutsatserna av undersökningen är att det är högre andel vitt procentuellt sett i Guldägget jämfört med de internationella tävlingarna, där det vita inte premieras alls. Däremot behöver inte det betyda att det är just det vita som premieras i Guldägget.
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Lundgren, Helena. "Omslagsbilder till DVD-filmer : Exempel på visuell kommunikation." Thesis, Karlstad University, Faculty of Arts and Education, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-5292.
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This thesis is about cover illustrations of DVD movies as examples of visual communication. I have studied the cover illustrations of the three movies Gran Torino, Secret Window and As White As Snow. My research assignment has been to find out how the cover illustrations of DVD movies communicate in relation to the story. I have also been looking for what makes a cover illustration interesting and if the interest in itself is individually considered or if there are certain general rules regardless of the observer.
To reach a conclusion I have been studying components in advertising pictures, visual communication and how the commercial producers use advertising to communicate with the observer. Semiotics, advertising and comparisons between the cover illustrations have been my method for analyze.
I have come to the conclusion that cover illustrations are meticulously produced, and that every single part of them is important for the observers’ over all impression and interpretation of the cover illustration. The place of picture elements, colours, looks and occurrence of persons in the covers are striving to send a uniform message about the cover and movie. They also guide the observer in his/her interpretation of the cover and what kind of movie it represents, and they are components that make the cover more visible. What makes the cover illustration interesting is both something individual and something general. For example the occurrence of humans, looks, strong emotions and colours make the cover more visible and interesting in relation to others. The observers’ interest for the cover may be individual depending on the observer’s experiences and interpretation.
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Cardoza, Janice. "hyoo'mer." VCU Scholars Compass, 2003. http://scholarscompass.vcu.edu/etd_retro/1.
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There are many forms of humor. Irreverent, dark, and black humor have been used throughout history for social commentary. Irony, parody, sarcasm, and satire can break through preconceived notions, barriers and the tensions we experience when confronted with uncomfortable issues such as bigotry, elitism, and genetic superiority. Humor provides an opportunity for a release of tension giving way to a more receptive audience and a more effective message. My thesis is an exploration of the use of irreverent, dark, annd black humor as vehicles for effective social commentary in communication design.
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Lee, Yen-Ping. "A study of Taiwanese sixth grade students' responses to self-selected advertisements." [Kent, Ohio] : Kent State University, 2009. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=kent1247493417.
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Thesis (M.A.)--Kent State University, 2009.Title from PDF t.p. (viewed Mar. 26, 2010). Advisor: Koon-Hwee Kan. Keywords: Visual culture; advertisements; Taiwanese; elementary school students. Includes bibliographical references (p. 173-181).
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Berger, Bruna. "ARTE E PUBLICIDADE NA CONTEMPORANEIDADE: CONVERGÊNCIAS." Universidade Federal de Santa Maria, 2016. http://repositorio.ufsm.br/handle/1/5242.
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Fundação de Amparo a Pesquisa no Estado do Rio Grande do SulThis research aims to understand the processes of convergence between art and advertising its insert and contribute in different ways to the artistic field. In this contemporary time, one sees an active process of confluences and cultural and communicational hybrids due to increasingly latent exposure of the mass media and new technologies. There has been a notable advance in the art use of insertion strategies and dissemination of its content in the media, showing up, sometimes as promotion strategy, sometimes as critical to such means. For analysis and development of this study, we turn to artists whose works comprise characteristics that lead to border washout, allowing us to see there where the convergence between art and advertising are these days, much of the exploration point of view of language and space ownership advertising. This study is based on the works of the following artists, Antoni Muntadas, Felix Gonzalez-Torres, Jeff Koons, Vik Muniz, Barbara Kruger, Cindy Sherman, Paul Bruscky and Gisele Beiguelman. In this investigative journey also approach the relationship between contemporary art and the art market, looking at art as a field of knowledge can provide us with different reflections on the world, which has an ambiguous position because it is an activity with purpose endless and it has, however, able to transform the interests of the consumer market. Subjected to economic and cultural imperatives, art also relates to the big brands in the consumer market, and a major corporate investment in certain cases. Evaluate how resources obtained in these artistic practices influence the mode of production of artists and their careers, limiting their opportunities and constraints in this field and, therefore, we try to understand the status of the artist in contemporary society. Finally, we believe that the artwork that allow convergence with other fields, such as advertising, especially those that occur in non-institutional spaces, contribute to the debate on the nature of art. Thus, we can see an ease access to those works, which indicates a greater democratization of art. We also understand that although there is a fusion between art and advertising, borders appear less distinct and hierarchical, more permeable. This phenomenon changes the aesthetic experience we have with the world and the art changes the world, experience it changes us too.
Esta pesquisa tem por objetivo compreender os processos de convergência entre a arte e a publicidade que se inserem e contribuem de diferentes formas para o campo artístico. Nesse tempo contemporâneo, percebe-se um processo ativo de confluências e hibridismos culturais e comunicacionais devido à exposição cada vez mais latente dos meios de comunicação de massa e das novas tecnologias. Observa-se um notável avanço da arte na utilização de estratégias de inserção e de divulgação dos seus conteúdos nas mídias, mostrando-se, ora como estratégia de promoção, ora como crítica a esses meios. Para análise e desenvolvimento desse estudo, nos voltamos para artistas cujas obras comportam características que levam ao esmaecimento de fronteiras, permitindo visualizar aí a convergência entre arte e publicidade nos dias de hoje, tanto do ponto de vista da exploração como da apropriação de linguagens e espaços publicitários. Este estudo se apoia nas obras dos seguintes artistas, Antoni Muntadas, Felix Gonzalez-Torres, Jeff Koons, Vik Muniz, Barbara Kruger, Cindy Sherman, Paulo Bruscky, e Gisele Beiguelman. Nesse percurso investigativo, abordamos também as relações entre a arte contemporânea e o mercado da arte, observando a arte como um campo de saber capaz de nos proporcionar diferentes reflexões sobre o mundo, que apresenta uma posição ambígua por ser uma atividade com finalidade sem fim e que tem, no entanto, o poder de se transformar aos interesses do mercado de consumo. Submetida a imperativos econômicos e culturais, a arte relaciona-se também com as grandes marcas do mercado de consumo, sendo um importante investimento corporativo em determinados casos. Avaliamos como os recursos obtidos nessas práticas artísticas influenciam o modo de produção dos artistas e suas carreiras, delimitando as suas oportunidades e restrições nesse campo e, em consequência, tentamos compreender o status do artista na contemporaneidade. Enfim, acreditamos que os trabalhos artísticos que permitem a convergência com outros campos, como o da publicidade, principalmente aqueles que ocorrem em espaços não institucionais, contribuem para o debate sobre a própria natureza da arte. Com isso, percebe-se uma facilidade de acesso a essas obras, o que indica uma maior democratização da arte. Compreendemos também que, embora não exista uma fusão entre a arte e a publicidade, as fronteiras se apresentam menos distintas e hierarquizadas, ou seja, são mais permeáveis. Esse fenômeno modifica a experiência estética que temos com o mundo e, se a arte modifica o mundo, experienciá-la nos modifica também.
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Rother, Laura M. "World War I Posters and the Female Form: Asserting Ownership of the American Woman." Cleveland, Ohio : Cleveland State University, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=csu1211918047.
Full textAbstract:
Thesis (M.A.)--Cleveland State University, 2008.Abstract. Title from PDF t.p. (viewed on July 9, 2008). Includes bibliographical references (p. 67-69). Available online via the OhioLINK ETD Center. Also available in print.