Thesis (M.Arch.)--University of Hong Kong, 1997. / Includes one special report study. Includes bibliographical references. Also available in print.

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.

Submitted by Adriana Alves Rodrigues (aalves@espm.br) on 2017-11-14T13:52:01Z No. of bitstreams: 1 DANILO COSTA SCATIGNO.pdf: 1952403 bytes, checksum: 5da77e67c2bac2fc8500ad1b2db6f2f5 (MD5) / Approved for entry into archive by Adriana Alves Rodrigues (aalves@espm.br) on 2017-11-14T13:52:50Z (GMT) No. of bitstreams: 1 DANILO COSTA SCATIGNO.pdf: 1952403 bytes, checksum: 5da77e67c2bac2fc8500ad1b2db6f2f5 (MD5) / Approved for entry into archive by Ana Cristina Ropero (ana@espm.br) on 2017-11-22T12:55:21Z (GMT) No. of bitstreams: 1 DANILO COSTA SCATIGNO.pdf: 1952403 bytes, checksum: 5da77e67c2bac2fc8500ad1b2db6f2f5 (MD5) / Made available in DSpace on 2017-11-22T12:56:30Z (GMT). No. of bitstreams: 1 DANILO COSTA SCATIGNO.pdf: 1952403 bytes, checksum: 5da77e67c2bac2fc8500ad1b2db6f2f5 (MD5) Previous issue date: 2017-03-31 / Between desire and guilt is the human being, hostage of a search for ideal love that does not there is, therefore, the dramatic substance that inspires the writer Nelson Rodrigues. And not only to the author, also to the brands. How are the advertising narratives that of infidelity? We will approach the nuances of the discursive formation of these narratives with the to understand their correlations with communication and consumption. For this, they will help in this discussion authors such as Eni Orlandi, João Anzanello Carrascoza, Maria Aparecida Baccega and Sábato Magaldi. As a research methodology, we will use the concept of the re-contextualization of Gianfranco Bettetini, in which a text is moved from the original domain to another, so that there is a discursive interaction. The theoretical assumptions of French discourse will help us to demonstrate in what discursive contexts Nelson Rodrigues's short stories and the publicity films study. / Entre o desejo e a culpa está o ser humano, refém de uma procura pelo amor ideal que não existe, daí a substância dramática que serve de inspiração ao escritor Nelson Rodrigues. E não somente ao autor, também às marcas. Como se formam as narrativas publicitárias que tratam da infidelidade? Abordaremos as nuances da formação discursiva dessas narrativas com o objetivo de entender suas correlações com a comunicação e consumo. Para isso, irão nos auxiliar nessa discussão autores como Eni Orlandi, João Anzanello Carrascoza, Maria Aparecida Baccega e Sábato Magaldi. Como metodologia de pesquisa, utilizaremos o conceito da retextualização, de Gianfranco Bettetini, em que um texto é deslocado do domínio original para outro, para que haja uma interação discursiva. Os pressupostos teóricos da análise de discurso de linha francesa nos ajudarão a demonstrar em quais contextos discursivos analisaremos os contos de Nelson Rodrigues e os filmes publicitários contemplados neste estudo.

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.

Thesis (M.A.)--Miami University, Dept. of English, 2004. / Title from first page of PDF document. Includes bibliographical references (p. 47-48).

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