© DAVID CARR-SMITH 2009 : all images and text are copyrighted - please accredit text quotes - image repro must be negotiated via [email protected]
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CARR-SMITH - IMPROVISATION / DESIGN / ART / KITSCH / CHANCE
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COLLAGE DISSEMINATES AS ART and ADS ... in process
NEW
EXPERIENTIAL INFO FORMS - THE DISSEMINATION OF EARLY-20thC ART
DISCOVERIES
AN
ARTIST'S PUBLIC-SITE INSTALLATION WORKS IMPROVISED
ARCHITECTURE IN AMSTERDAM INDUSTRIAL SQUATS & COLLECTIVES
IMPROVISED
OPEN-SITE: ("THE NOMADIC COMMUNITY GARDEN") IMPROVISED
VILLAGES: (WANDSWORTH & KEW BRIDGE 'ECO VILLAGES') ALLOTMENT
IMPROVISATIONS - PUBLIC, LEGAL, SOCIALLY INDORSED TEMPORARY-ARCHITECTURE:
("FRANK'S CAFE" & "SOUTHWARK LIDO") VERNACULAR
- PRAGMATISM & STYLE: (BERDUN VILLAGE BARNS & HOUSES) "HOME"
- MY LOCATION VIA MASS-PRODUCTS & TASTE - LIV-RM "HOME"
- MY LOCATION VIA PERSONAL CHOICES ART
- GOTHIC INTO RENAISSANCE INTO EARLY 20thC ART
- 20thC COLLAGE INTO MASS-MEDIA .
"HOME" - MY LOCATION
VIA MASS-PRODUCTS & TASTE - HOUSE
GRAFFITI INTO STREET-ART
KITSCH
CHANCE
& DESIGN
THE DISSEMINATION OF EARLY-20thC ART DISCOVERIES ... much of this web-page is in process
A qualitative change of experience, on the scale of, analogous to, and as unpreconceived as that from 'Gothic' to 'Renaissance', opened near the beginning of the last century.
Between 1910 and 1920 were developed means of experiential forming which equally and simultaneously mediated outer object and inner meaning - thus restating
experience as a continuum of physical event and mind content conjoined in the
act of realising a work. These artifacts differ from those of the previous culture (Renaissance to
approx 1900) whose identity as external physical things was not an aspect of their content but simply a medium for mental forming.
The experiential potential released in the early 20th century is characterised by the fully independent 'thing' status of the physical aspect of its experiential forms.
First realised as 'art' it increasingly transforms the structure/content of all modes of mediation/information.
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PART 1 : MULTIVALENT ART-WORKS and ADS ... in process
Part 1 elucidates the generative art objects of this new structuring of experience, first comparing them with a mature example from the previous 'Renaissance' culture, and then with post-collé publicity images that exploit the experiential potential they helped to realise:
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PART 2 : POST-COLLÉ PUBLICITY IMAGES
Part 2 shows examples of post-collé publicity images that exploit the experiential potential released by early 20thC papier-colles.
Almost all advertisement examples are from the 1970s to early 90s - a period of marvellous innovations in the design of ads that incorporated in their visual structures means of subliminal suggestion and subsequent choice reinforcement, applying the type of interior-mental><exterior-visual experiential mechanics initiated in Picasso and Max Ernst in early 20thC collages. Their design agencies expanded such art images, their perceptual affects and language of meanings, to the scale and scope of public dialogues, developing their themes though series of related images, propagated via large hoardings in streets and termini; even embedding into the public environment images that visually and meaningfully transformed their surrounding location into a component of their purpose. (Note that these latter objects, whose external context is, from their inception, conceived as an aspect of their content, do not even engage with the 'problem of a work's inevitable relation to its context' in the sense that is posed by certain 'art' works that require to be displayed in isolation (on white walls and plinths) as a (kitsch) means of signifying their 'unique significance'!) ... in process ...
AD: 'MARTELL' BRANDY - (SMALL HOARDING ON STREETS) - (1986)
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AD: 'COURVOISIER' BRANDY - (MAGAZINE PAGE) - (c1986)
NOTE :
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AD: 'CHILDREN'S SOCIETY' CHARITY FOR DISTURBED CHILDREN - (HOARDING - RAILTON ROAD, HERNE HILL, LONDON, SE24) - (1984)
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AD: 'CHILDREN'S SOCIETY' CHARITY FOR DISTURBED CHILDREN - (HOARDING - RAILTON ROAD, HERNE HILL, LONDON, SE24) - (1984)
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AD: 'BENSON & HEDGES' CIGARETTES: 'INVISIBLE AD' - (8-1992) - (HOARDING - VICTORIA STATION, LONDON)
This yellow panel with its suspended junk-objects, with no text or title, blending into the muddle of signs around it, but over an unavoidable route across the vast station, makes no proclamation of its source except in so far as its decor of
'arbitrary'
shoes, braces, telephones, rope, picture-frame, limned in ones peripheral memory an unfocussed version of an image already familiar from years of ad-conditioning - a B&H packet.
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AD: 'BENSON & HEDGES' CIGARETTES: 'INVISIBLE AD' - (8-1992) - (HOARDING - VICTORIA STATION, LONDON)
A repeat of the previous caption in 'longhand':
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AD:
'BENSON & HEDGES' CIGARETTES: LOG-CABIN XMAS CARD - (XMAS-1979) -
(MAGAZINE PAGE)
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AD: 'BENSON & HEDGES' CIGARETTES: 3D MOVIE AUDIENCE - (20-3-1996) - ("TIME OUT" MAGAZINE DOUBLE-PAGE) |
AD:
'BENETTON': BABY - (9-1991) - (HOARDING - RAILTON ROAD, HERNE HILL,
LONDON, SE24) A
new-born baby on a suburban road. Insertion of this utterly ubiquitous but
shockingly unfamiliar image-subject onto public hoardings in the UK provoked
a "storm of protest" (often excused by the oblique criticism that
it "has nothing to do with Benetton's product: clothes - really?!).
Pathetically (and apparently without any publically mooted analysis) this
public-educational tool was quickly banned by our Advertising Standards
Authority! Censoring a 'newly discovered normal' image because it is
unfamiliar and suddenly disturbs the 'background' of many familiar sights,
deprives us of the new (social) insights that such a conjunction
provokes.
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AD:
'BENETTON': BABY - (9-1991) - (HOARDING - RAILTON ROAD, HERNE HILL,
LONDON, SE24) |
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AD:
'BENETTON': BABY - (9-1991) - (HOARDING - ROAD NORTH FROM OXFORD ST,
LONDON)
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AD: 'BENETTON': HEARTS - (28-3-1996) - (HOARDING - S. CIRCULAR RD. (CNR: NORWOOD RD.), TULSE HILL, LONDON)
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AD:
'BENETTON': HEARTS - (28-3-1996) - (HOARDING - S. CIRCULAR RD. (CNR:
NORWOOD RD.), TULSE HILL,
LONDON) |
AD: 'OATLY' (OAT 'MILK')- (29-01-2020) - (HOARDING - DALSTON LANE. (W. END / CNR: KINGSLAND HIGH ST.), LONDON, E8)
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<<<<< ver-1 I cannot 'solve' the mental split between
these two 'directions of address' - the harsh but frustrated command that
demands my attention / the mild, almost kindly 'family familiarity' of
"Oh, it's you again" addressed to the Oatly. This is a 'collage' -
a single element whose content divides//is divided in the brain according to its
external environment of reference, and reforms as a whole only in its
(intended) potential as action (firstly the carton on the ad acts as an exclamation mark at end of the personal message
This is a verbal collage ... The shout-at people exiting the tube station attracts/holds attention (especially with the help of the passing/obscuring traffic! ###) - and makes them look again & again until the Oatly carton is noticed beyond the fullstop ... suddenly we're in a shop: Oh its you again! ... don't forget! This is a 'collage' - an object - the text, speaks to us in two locations: our external space and our internal planning a single element whose content
is divided according to its environment of reference, and
which reforms as a whole only in its
(intended) potential as action |
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AN ARTIST'S PUBLIC-SITE INSTALLATION WORKS
MPROVISED ARCHITECTURE IN AMSTERDAM INDUSTRIAL SQUATS & COLLECTIVESIMPROVISED OPEN-SITE: ("THE NOMADIC COMMUNITY GARDEN")
IMPROVISED VILLAGES: (WANDSWORTH & KEW BRIDGE 'ECO VILLAGES')
ALLOTMENT IMPROVISATIONS - PUBLIC, LEGAL, SOCIALLY INDORSED
TEMPORARY-ARCHITECTURE: ("FRANK'S CAFE" & "SOUTHWARK LIDO")
VERNACULAR - PRAGMATISM & STYLE: (BERDUN VILLAGE BARNS & HOUSES)
"HOME"
- MY LOCATION VIA MASS-PRODUCTS & TASTE - LIV-RM
"HOME" - MY LOCATION
VIA MASS-PRODUCTS & TASTE - HOUSE
"HOME" - MY LOCATION VIA PERSONAL CHOICES
ART - GOTHIC INTO RENAISSANCE INTO EARLY 20thC
ART
- 20thC COLLAGE INTO MASS-MEDIA
GRAFFITI
INTO STREET-ART
KITSCH
CHANCE
& DESIGN
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