Creativity and Color

European Scientific e-Journal, 2021

In this article, we will discuss how contemporary advertising becomes the territory where various artistic expressions contribute in a complementary way to the constitution of the meaning of a work. The case study will approach the activity of Oliviero Toscani, and his two decades of collaboration with Benetton materialized in memorable advertising campaigns that rewrote the visual history of contemporary advertising. We will analyze how photographic media provides advertising with one of the most consistent expressive resources, based on the realism of the image, the endless possibilities in managing the visual composition, the premises of reproducibility and, last but not least, the appetite of an audience eager for the technological image. Also, we will try to discuss the creative premises and mechanisms that characterize Toscani's creation, the reading conditions of his advertising works, as well as how his creative strategies combine the expressiveness of the technological precision of press photography, and the appropriation strategies specific to artistic postmodernity.

2018

In advertising photography’s crowded and competitive world, creativity and originality of style are key distinguishers. Some photographers challenge conventions to assert their innovative ideas. Dealing with extremely delicate social issues and effectively using them is a rare and difficult task in this field. In this regard Oliviero Toscani and David LaChapelle mark an era in advertising photography. These artists have started a new phase in fashion photography by inventing a revolutionary approach to business, communication, and public relations. Although both photographers worked with similar content, they applied different techniques and styles, and their work significantly differs in in terms of implementation and execution of photographic projects. The following article aims to highlight such resemblances and differences in the works of these two influential 20th century photographers.

Anastasis. Research in Medieval Culture and Art, 2021

In this article we analyze from the perspective of vocabulary and visual language elements the way in which the photographic media provides advertising with one of the most consistent expressive resources. The realism of the image, the endless possibilities in managing the visual composition, the premises of reproductibility and, last but not least, the appetite of an audience eager for technological image, ensured the success of this medium acquisition in the field of advertising expression. The way in which photography is used in advertising mechanisms is, instead, the prerogative of the artistic sphere and it is fully subject to professional standards of design, concept, and realization of the image. In particular, we examine how contemporary advertising becomes the territory where various means of expression contribute in a complementary way to the constitution of the meaning of a work, emphasizing the specific sensitivity of those expressive mediumsnamely photography and painti...

Art, advertising and industrial design through the transposition of pictorial works to consumer objects. Analysis of local and national artists (Atena Editora), 2024

Desde la aparición de los ready-made en el siglo XX, autores como Arthur Danto (2004), George Dickie (2005) y Elena Oliveras (2008) desde la perspectiva de la teoría institucional del arte, han intentado definir cuándo hay arte, partiendo de la tesis de que no todos los objetos cotidianos son obra de arte, aunque podrían llegar a serlo. Para ello se necesita que el artista, el público conocedor del tema: marchands, críticos, filósofos, historiadores, etc. (mundo del arte) y los espectadores “comunes”, se entrelacen para dar validez y estatus artístico al que no arriba cualquier objeto. A partir de esta premisa, este proyecto de investigación analiza el proceso a través del cual artistas contemporáneos formados en el medio artístico visual local y nacional, como Milo Lockett, Mario Lange, Claudio Baldrich, Germán Toloza, Ricky Crespo, y Felipe Giménez, han ido desplazando la materialidad de su producción pictórica a un conjunto de objetos de consumo, ganando reconocimiento y legitimación a nivel nacional por la fácil de asimilación de una imagen simple, una paleta de colores estridentes y una estética “ingenua”. Al mismo tiempo, la obra de varios de estos artistas forma parte de acciones solidarias permitiendo que el mundo del espectáculo, los medios masivos de comunicación y las firmas comerciales conozcan y adquieran sus obras “transfiguradas en objetos de consumo” (zapatillas, ropa, artículos de librerías, de cocina, libros, anteojos, borcegos, indumentaria, etc.) Esta investigación busca indagar esta cuestión analizando los límites entre el arte, la publicidad y el diseño industrial. En otros términos, partiendo de la difusión de las imágenes de los artistas citados en productos de consumo, busca examinar cuándo sus propuestas operan como obras de arte y cuándo y cómo pasan a ser productos industriales.

Zenodo (CERN European Organization for Nuclear Research), 2023

geografski digitalna, je dobila -strukturnih, sociokulturnih in primerjalnih metodah. Vrednost Avtor poudarja, da imajo e storitve, kreativne kompozicije, nenavadne perspektive in barvni kontrast, ki zagotavlja funkcionalnost ugotavljanje novih dejavnikov ustvarjanja podobe. : plakat, barvna semantika, vizualizacija oglasov, kulturni kontekst.

La publicidad y el arte son dos sistemas de representación que ocupan, dentro de nuestra escala de valores, dos lugares diametralmente opuestos. A lo largo de la historia se ha considerado a la publicidad como una forma de contaminación por su carácter intrusivo, mientras que el arte ha sido sacralizado. En esta investigación, los autores han tratan de conseguir ir un paso más allá respecto a esta relación de la publicidad y el arte, tratando esta temática con todo el respeto posible, y desde un punto de vista que difiere en su más alto grado de una acti-tud iconoclasta. Se analiza una parte de la historia de Francia denomi-nada Belle Epoque, donde, de acuerdo con el punto de vista de los au-tores, la publicidad y el arte se fusionaron y se influyeron mutuamente. Este libro tiene la intención de ilustrar este enfoque descrito en un de-terminado momento y un lugar preciso en la historia. Donde debido a razones y circunstancias políticas, económicas, culturales y sociales se produjo un cambio de mentalidad que llevó a la "era de la moderni-dad", que ha influido en todas las sociedades desarrolladas a lo largo del siglo XX.

2003

This essay explores the terms high and pop culture, their relationship and how it has changed in modern times. It is argued that there is a tendency for the blending of the two in what would be called a ''postmodern time'' which denies clear categorization and definition. This might be a positive or negative trend however it is worth exploring. For this purpose two commercials, the 2014 KIA Super Bowl Commercial featuring Laurence Fishburne as Morpheus from The Matrix and the Dewar’s Live True Commercial, will be used in relation to the work of pop artist Marco Battaglini and especially his paintings "Gentlemen prefer blondes" and "Unhappy ending" which appear in an Appendix.

The human need for expression through images is present probably since the human need for dressing. Despite their conflicting roles, both art and fashion play important role in the society. When approaching the relationship between art and fashion many discrepancies between them arise, as well as many similarities, especially in contemporary times. While art is imbued with spiritual – the sublime – fashion is linked to physical – the frivolous. When acceding to the concept of fashion, it is important to emphasize distinction between fashion and clothing. Dress becomes fashion with inscription of symbolic value. Art transcends both space and time; fashion is spatially and temporally confined. From this confinement two crucial points of divergence ensue: a) the concept of fashion is related to the western culture, b) the time of fashion refers to modernity. The emergence of fashion in the Renaissance indicates a new era, with the rise of capitalism and the redefinition of social roles. Fashion is closely associated with capitalism which is problematic because this often puts the emphasis on its economic aspect, while neglecting its aesthetic aspect. It is often overlooked, but should also be noted that fashion has its place in art, especially in the field of applied arts. Therefore, two important moments where art and fashion interfere are: a) the invention of geometric perspective in the Renaissance: art becomes part of the system of representation; fashion becomes part of the system of communal living. b) the invention of photography in the 19th century: both art and fashion get emancipated from either representational codes or strict class divisions. We could say that the Renaissance marked the beginning of seduction by images with the illusion of three-dimensional space on a two-dimensional surface. With the industrial revolution and the invention of photography a major change began in the perception of the world, and art played an important role in these processes. Due to scientific and technological progress social changes found their particularly interesting reflexion in both art and fashion. In modern and contemporary times the artwork as material object is replaced by idea, concept and artistic event. On the other hand, fashion shifted its focus from functionality to images. Discussions on whether fashion is art began in the 80's with the entry of fashion into museums. In the 21st century, when fashion becomes part of creative industries, an important and troubling questions should be asked once again: can fashion be finally considered one of the of the artistic media or are we hopelessly regressing back to traditional categories which claimed their strict detachment?