THE DIRECTOR OF FACTORY: The convergence of artistic and advertising concepts in Andy Warhol's painting between 1960-68
Name: SAMIR TORRES SCARDINI
Publication date: 24/08/2016
Examining board:
Name |
Role |
|---|---|
| ANGELA MARIA GRANDO BEZERRA | Internal Examiner * |
Summary: This study aimed to analyze part of the advertising and American painter Andy Warhol work and understand how to work the interrelationship of advertising fields and art in his works. Increase knowledge in the artist's work can contribute to creative innovations in both the advertising agency and the art processes, bringing new and detached interpretations of it.
After all, the defense is made that can not be placed prior moorings in the demonstrations of art and advertising, which can be merged into work aimed at bringing people together, either with persuasive or recluses purposes. The formalist paradigm that Warhol and other artists of Pop Art faced, now and then presents glimpses in the current art scene, revisit the production of this painter reinforces the negative and the return of form over content in art.
For the advertisers, Warhol's work can be seen with a useful example in which advertising was used art not as merely illustrative element, but as a fundamental part of the ad content. The features and subtle illustrations represented the sophistication and originality of the product, in the case of I. Miller shoes on the ides of the 1950s.
The main theoretical bases were used authors Anne Cauquelin, Arthur Danto, Roberto Menna Barreto, Alexandre Emerick Neves, Giulio Argan, Merian Korichi, Tony Scherman, David Dalton and Julio Ribeiro. Warhol's work evaluated were the illustrations and screen prints produced between the 1950s and 1960s.
Keywords: art, advertising, convergence and Andy Warhol.
