By Joan Gibbons
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Extra resources for Art and Advertising (Art and... Series)
While characterising her skills as knowing how to ‘deal with an economy of image and text which beckoned and ﬁxed the spectator’, she admitted that her method combined the ‘ingratiation of [the] wish desire’ of advertising with her own ‘criticality of knowing better’. 39 This strategy allows Kruger to tap into shared memories that give added value to such images, removing them from the immediacy of contemporary advertising and creating a particular hold on the viewer. Even though, as Liam Gillick notes, examples of the same ‘clunky American advertising technique’ survived well into the 1990s, most leading mainstream advertisements of the 1980s fell into an approach that has been dubbed ‘Capitalist Realism’, which will be discussed in more detail in Chapter 3.
Com 2000–2001 (‘Pavement, 1962, concrete slabs, cement, shoe prints, dog excrement, chewing gum, 8000 x 15050 x 10 cm’). com. strand of the campaign. 65 That an avant-garde gambit such as this is now used as a means of advertising art rather than as means of disrupting convention through art shows that conceptualism has become a form of popular, if not exactly common, currency. The question is to what extent this signals the taming of the avant-garde or to what extent it might be seen as a productive and desirable popularisation of its practices.
20 In effect, the relationship of the Docklands posters with the historical avant-garde extended beyond practices associated initially with the USSR to those developed by politically radical artists in the context of Nazi Germany. However, what was essentially at stake in both of these historical contexts, as well as in the Docklands poster campaign, was the need to communicate quickly and effectively. The imagery and texts used needed to be straightforward and explicit, delivering short incisive messages, in the manner of advertising or propaganda.