ashley jones final project

& CLS Tutor – Alan Miller

Final Project Has modern art and its psychological effects aided the development of the advertising industry?

Has modern art and its psychological effects aided the development of the advertising industry?

June 4, 2013

AbstractHas modern art and its psychological effects aided the development of the advertising industry? This

project has taken a deeper look into if this is true. There have been various studies into the effects of

art and psychology. Propaganda art, Pop art and Modern Contemporary art have all shown use of

various psychological theories such as behaviourism, humanism, conformity and subliminal

messaging.

Results gathered in relation to this have shown evidence to argue advertising, art and psychology

have had a recurring relationship and as art has developed advertising has often followed. It has

been found that advertising has often shown reliance on art and its psychological effects in order to

progress as an industry although a further look into other subject areas and a better understanding

of Semiotics (the study of imagery) may result in conflicting variables, which in turn could lead to the

development of the industry. However due to the recurring relationship between art, psychology

and advertising it can be disclosed that if advertising uses art to gain use of psychology, it is more

effective therefore it will use more art forms and their psychological effects in order to progress and

develop more efficiently and effectively.

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AcknowledgmentsI would like to express my very great appreciation to my project supervisor Rosanna Francis for her

highly valuable advice and suggestions throughout all parts of the project. Her willingness to actively

give her time so generously to me, especially in that I have spoken to her everyday about my project

for the past few months is greatly appreciated.

I would also like to thank my tutor Alan Miller for his help to, he has given me great advice on how to

structure and write such a large piece of work and has always been ready to help when ever needed.

Finally I would like to extend my thanks to my Mother, Father, Charlotte Johnson, Mauro M’bala and

Leonardo Hernandez as with out there constant backing I would not of been able to achieve all that I

have.

Thank you all for everything you have done for me.

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Table of ContentsFront Cove

r.............................................................................................................................................................0

Abstract.................................................................................................................................................1

Acknowledgments.................................................................................................................................2

Introduction...........................................................................................................................................4

Chapter 1 – Propaganda Art..................................................................................................................5

Chapter 2 – Pop Art.............................................................................................................................11

Chapter 3 – Modern Contemporary Art..............................................................................................18

Conclusion...........................................................................................................................................25

Reference List......................................................................................................................................27

Bibliography.........................................................................................................................................32

Critical Evaluation................................................................................................................................37

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Introduction

In modern history the application of art and psychology has aided the development of the

advertising industry. There have been various studies and books written looking into different art

forms and the psychology behind them to solidify this claim. For example Colour: The Secret

Influence written by Kenneth R. Fehrman and Cherie Fehrman, this book gives insight into the theory

of colour and how It can be used to influence individual’s needs, emotions and desires (Fehrman,

2010). When looking at the natural evolution of art, advertising has often followed and steadily

progressed with it, this is due to the psychological application given in art. The most notable of this

would be behaviourist theory as it branches into many different art forms, for example Modern

Contemporary Art and the application of positive reinforcement (a leading theory with in

behaviourism), the application of the theories is apparent when looking at various advertising

campaigns by Coca-Cola especially when they first launched Diet Coke and more recently Coke Zero

giving the idea of the ideal self through the use of Athletes and or beauty models, this in turn falsely

gives consumers the idea that if they drink Diet Coke or Coke Zero they will eventually look like the

athlete or beauty model.

As well as Modern Contemporary Art, Propaganda Art and Pop Art have both shown a dependence

on psychology, when looking further into the art forms, it is apparent that both have been used in

advertising during their respected historical timeline. Respectively various companies have used the

art forms in order gain use of the psychological effects they present in order to ultimately increase

sales be it via exploitation through subliminal messaging and brainwashing or the notion of

conforming the masses to follow popular ideas, products and cultures.

Psychology and art have often gone hand in hand and advertising has used this in order to progress

and develop, this is frequently due to the fact that psychology is the study of the mind and art is

active expression and application of the mind often represented in a visual form as is the application

of various different advertising techniques.

Therefore has the psychological effects of modern art aided the development of the advertising

industry? Looking into various advertising techniques and artist movements with the added

application of the study of imagery (semiotics) may give an answer and better understanding in

relation to this.

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Chapter 1 – Propaganda Art

(Zec, 1941)

“Women of Britain come into the Factories”.

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Propaganda is the notion of distorting and corrupting the views of the public and masses by

spreading information and rumours through various means (Miffin, 2013) but it can also be used to

aid and help a cause in a positive light. Propaganda is used through the media being radio, television,

newspapers, magazines and through posters or various other art forms.

Propaganda was at one of its most prominent stages through World War 2, With Propaganda Art

standing at the forefront for both the Allied forces and the Nazi movement (See figures 1, 2 and 3

below for examples). However it is argued it was at its most prominent during the 1950s to 1960s by

the Soviet Union (Lafont, 2007).

Figure 1 (Zec, 1941) Figure 2 (Goebells, 1939) Figure 3 (Clarke, 1943)

Above figures 1, 2 and 3 show examples from Britain, Nazi Germany and America, each example

shows empowerment to the individual, with women being asked to help defeat the Nazis through

working in the factories to produce arms and war machines such as tanks and gunner aircraft (see

figure 1), the US citizen asked to buy more War Bonds and Stamps to help fund the forces punch a

hole in the Nazi movement (see figure 2) and finally expression to the young in Nazi Germany

stating, they are the future and they are the people who will make the Nazis great (see figure 3).

The arts were impacted by the war and Propaganda Art, with major authors, animation artists and

cartoon illustrators showing their affiliation to certain movements. Perhaps most notable was Walt

Disney with his alliance to the Allied Forces. He used his position to target the Nazi regime through

his illustrations and movies for example the ‘Education for Death’ video and his war insignia (see

figure 4) (Cabrera, 2011). Disney had always portrayed a huge dependency upon psychology in

relation to his films and animations and naturally the use of propaganda was added to his works

(Fouts et al, 2006). Although disputed it is argued by Russell and Cohn (2012) that Disney had added

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a psychological edge through subliminal methods for very different political reasons. This has led

many professionals with in the art history, illustration and cartoon sectors to claim that Disney’s use

of subliminal messaging aimed to expose Nazi ideology to the Allied nations, given his background

and views on racism. Subliminal messaging is the application of hidden messages passed to the

human mind without the mind being consciously aware of it and is used to stimulate subliminal

stimuli, with the term subliminal meaning ‘below the threshold’, this is applied via various forms of

imagery or sound (Sinclair, 2012; Smith et al, 2005).

Figure 4 (Disney, 1939).

Subliminal messaging was at a boom during the war and was used to advertise products to help fund

the conflict through the people and taxes. It could be argued that more products bought in times of

struggle the harder life gets for the individual (eventually), the easier it is for the political powers to

‘Help’ the individual and ultimately intensify the grip held on the masses (Cited in Encyclopaedia,

2010). This was most evident with the birth of the Volkswagen beetle in Nazi Germany. The

Volkswagen Beetle was often labelled as ‘the people’s car’ in Nazi Germany and was highly endorsed

by Hitler himself. The process of Hitler endorsing ‘the peoples car’ was used to target the

subconscious mind and control the German people without them actually realising that it was

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happening, this was evident through the use of subliminal messaging and the sales of Volkswagen

cars especially beetles, this in turn funded various different movements in Nazi Germany and during

the war (Rieger, 2013). These advertising methods are used regularly today especially in sports. This

is applied through various brands sponsoring various athletes and sports people. These methods

give consumers the idea that wearing these products will make them perform better, faster and

stronger (Lee, 2010).

However it is argued that Propaganda Art first introduced the idea of subliminal messaging in the

1950s and not during the war (Key, 1973). With this in mind it is argued that the use of subliminal

messaging is just a conspiracy, this is often due to the fact it can be difficult to spot and to evaluate

its effects, therefore subliminal messaging is often regard as a conspiracy as to prove its use is highly

difficult (Mlodinow, 2011).

In Modern society subliminal messaging may well still exists (Lechnar, 2004), for example one of the

forerunners for this is Coca-Cola. Today Coca-Cola still uses this process to ensure they have

customers return or get customers to link certain things to their products. A famous example of this

was in Lord of the Rings, when the ring was thrown into the fire and taken out, the ring displays

‘Black Speech’ writing. At first glance the actual message being shown is not visible, but when

slowed down the Black Speech quite evidently stated Coca-Cola (Love, 2006) (see figure 5). In

relation to this it does not read the same in the original book by J.R.R. Tolkien, the book actually

states “Ash nazg durbatulûk, ash nazg gimbatul, ash nazg thrakatulûk, agh burzum-ishi krimpatul”

(Tolkien, 1954). In 2001 Coca-Cola’s annual report stated that there was a huge 12% increase in

sales overall worldwide but in the UK, America and Australia during the period of which Lord of the

Rings (LOTR) was in cinema, sales increased by 24% and then a further 4% when the film was

released on DVD late 2001 (Coca-Cola, 2001). These figures show clear and evident increase in

demand for the product through the time period when the subliminal message was most evident.

However there are other alternative factors other than subliminal messaging in LOTR. The film was a

large blockbuster and cinema sales subsequently increased. Since there are concession stands across

the world in cinemas it could be argued that this could be another variable which boosted sales.

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http://tolkiengateway.net/w/index.php?title=Krimpatul&action=edit&redlink=1

http://tolkiengateway.net/wiki/Burzum-ishi

http://tolkiengateway.net/wiki/Agh

http://tolkiengateway.net/w/index.php?title=Thrakatul%C3%BBk&action=edit&redlink=1

http://tolkiengateway.net/w/index.php?title=Gimbatul&action=edit&redlink=1

http://tolkiengateway.net/w/index.php?title=Durbatul%C3%BBk&action=edit&redlink=1

http://tolkiengateway.net/wiki/Nazg

http://tolkiengateway.net/wiki/Ash


June 4, 2013

Figure 5 (Jackson, 2001).

Subliminal messaging has been constantly questioned as to whether or not it truly exists and there is reasonable doubt that it does actually have an effect on the human mind (Bainbridge, 2008). Subsequently there have been various studies and experiments to solidify the claim that it does not have any effect.

In 1957 Vicary conducted an experiment in order to gain evidence that subliminal messaging worked

by flashing messages such as ‘Eat popcorn’ and ‘Drink Coca-Cola’ his studies found that sales

increased by 57% and 18.1%, what was to be later released by Vicary was that he faked the results

and found that the experiment failed (Lilienfeld et al, 2010). As well as there being experiments to

prove evidence against the effects of subliminal messaging there is also various misconceptions of

the idea and thus giving light to the conspiracy of subliminal messaging (Knight, 2003).

Below figures 6 and 7 show more examples of Propaganda art.

Figure 6 (Fairey, 2008).

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Figure 7 (Clarke, 1940).

On the whole, it is reasonable to conclude that Propaganda Art has depended on psychological

theory, perhaps none more influential than the idea of subliminal messaging. Although not always

clear it has been shown in various studies and through research that it does affect the human mind

and can influence an individual’s thoughts and desires ultimately resulting in either positive or

negative outcomes. Without Propaganda Art the evidence for subliminal messaging may possibly not

exist although this is still argued today.

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Chapter 2 – Pop Art

(Warhol, 1962)

“Marilyn Monroe”

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Madoff (1997) and Osterwold (2003) both explain that Pop Art is notably one of the most

controversial and influential artistic movements of the modern era. The movement first started in

the 1950s in Britain with the term Pop Art first being used by the Independent Group, a sub group of

the Institute of Contemporary art (Madoff, 1997).

Pop Art derives from what is known as popular culture and expresses a materialistic need within

society. The art form itself was said to be an active example of Postmodernism which was at an

influential peak during the 50s to the 80s (Gersh-Nesic, 2013). Postmodernism was born from

Modernism as a reaction to classical concepts and was most evident in the arts and literature

although as a movement the term ‘Postmodernism’ has been used so frequently to define various

sub-movements developing from others that in many forms it has lost its meaning and thus making

it difficult to truly define (Harrision, 2001).

Pop Art in its entirety was art based on modern popular culture and the mass media, now sharing

close links with Contemporary Art which is evident in today’s society in relation to modern day

society on the other hand Pop Art was more of a movement and way of life often expressing high

forms of irony in relation to fine art (Simpson, 2012).

Andy Warhol has been regarded as the most famous artist of the Pop Art movement and has created

possibly the most iconic and recognisable art pieces with in the genre (Madoff, 1997; Osterwold,

2003; Hickey, 2009). Pieces such as his Marilyn Monroe (as shown in figure 8), Campbell soup (as

shown in figure 9) and Triple Elvis (as shown in figure 10) all affected the way in which art is viewed

and are believed to have given birth to many art forms which are so evident today (cited in Phaidon,

2006, page 352 - 411).

Figure 8 (Warhol, 1962) Figure 9 (Warhol, 1968) Figure 10 (Warhol, 1963)

As an art form Pop Art affected the advertising industry beyond describable proportions, with the

arts in the genre using modern examples and mass media as its basis, it is believed to have been

tailor made for advertising (Wharton, 2013). However many of the artists who became successful

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during the era were either in the advertising industry or relevant media based industries beforehand

and therefore lead the argument that pressures within the industry could have influenced the art

more so than the art influencing the industry. (Tungate, 2007; Madoff, 1997).

Many large companies adopted the idea of Pop Art to aid the advertisement of their products the

most notable of these companies was Coca-Cola, using Pop Art and or its ideals to a maximum in all

forms of their advertising (Wharton, 2013) and even adopting artists such as Andy Warhol and Peter

Blake to design for them (cited in Phaidon, 2006; Osterwold, 2003) (See figures 11, 12 and 13 for

examples)

Figure 11 (Warhol, 1962)

Figure 12 (Warhol, 1962)

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Figure 13 (Blake, 1963)

Pop Art famously brought a form of open expression to the advertising industry which previously did

not exist (Osterwold, 2003). Tungate (2007) claims there were no hidden messages and with this in

mind advertising changed and flourished.

It is argued by Friedman (2008) that Pop Art is being reborn as an artistic movement and is being

used in order to shock audiences away from products or companies or in turn is used as a platform

to express concern for increasing prices for products along with the crippling hold certain companies

may have on society and surrounding markets. Examples with in modern advertising can be seen in

figures 14 and 15.

Figure 14 (Bae, 2007)

Figure 15 (Blais, 2008)

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In regards to the psychological theory behind Pop Art Niedzviecki (2006) argues that Pop Art/Culture

holds reliance on the ideals of conformity, although in contrast to this it is also argued that Pop Art

has elements of Humanist psychology to. In essence conformity is the idea that individuals will

conform to beliefs and behaviours in order to fit into a group, this can often be due to various social

pressures and influences (Cardwell, 2008; McLeod, 2007). Solomon Asch famously performed an

experiment in order to further understand conformity, in this experiment Asch found that if you

purposely put an individual within a group where they answer something purposely wrong which in

this case was line size judgement the majority of the time individuals would conform even though

they knew it was wrong (Cardwell et al, 2008; Mcleod, 2008). In relation to Pop art it is argued by

Niedzviecki (2006) and Honnef (2004) the idea of Pop Art also known as Popular Art has heavy

reliance on the idea of conformity in that it was used to change whole societies view points along

with how they interpret various situations and in turn it was used to make society feel reliance on

products and large corporations such as Coca-Cola by giving the idea of “everyone does it, everyone

drinks it, I should try it to”.

On the other hand there are also arguments stating that Humanism is in effect via the artists, most

famously George Segal (who is also known as the Humanist of Pop Art) (Elmore, 2007; Tungate,

1993). Principally Humanistic psychology as argued by Cherry (2012) and Brain (2008) is the idea that

people are innately good and that mental and social problems are “resulted from deviations of

natural tendencies”. One major theory within Humanistic Psychology is Abraham Maslow’s

Hierarchy of needs; this theory is broken down into stages of needs and humans ability to fulfil their

needs (Cherry, 2012). Maslow would argue that with this in mind the artists themselves would have

to reach a level of self-actualisation in order reach out the masses and truly create an idea of

‘Popular Culture’ (Cherry, 2012). The link between the theory and Pop Art is established at the point

of creation and gives birth to the idea that Pop art is expressed through idea of the artist’s true self,

although when viewed by others creates the idea of an ideal self in that it is promoting Popular

Culture through art (Elmore, 2007; Tungate, 1993; Kuspit, 2008).

It can on the other hand be argued that there is little study into the ideas of conformity in relation to

Pop Art and the same can be argued for Humanism therefore leaving suggestions that more

evidence would need to be gathered in order to gain a more established link.

In conclusion Pop Art as a whole suggests reliance on psychology, although claiming to be

transparent and solely representing the ideals of modern culture. Pop Art as an art form has used

the application of both Humanist psychology and Conformity especially when used for

advertisement, this has been applied in order to drive success for large corporations such as Coca-

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Cola and actively promote a common social acceptance to consume their products and follow their

ideas and concepts.

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Chapter 3 – Modern Contemporary Art

(Kush, 1978)

“Metamorphosis”

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Modern Contemporary art has no true description, many ponder on the subject of Modern

Contemporary Art trying to find explanations but it is this art form’s invisibility with borders that

makes it so powerful (Aranda et al, 2010). In terms of its invisibility with borders I can be seen

through the use of a paradoxical sense of anarchy which can be seen in figure 16, in essence the

term paradox means a person, item, definition or object that contradicts its own meaning or position

(Simpson, 2012), in the case of Modern Contemporary Art the paradox example would be anarchy

due to the often chaotic theme symbolising peace or a clear difference from societies ideals and the

functionality of a governed way of life being a restriction to the real from the ‘norm’. however when

looking at this example the only way anarchy would be achievable would be through facing

inevitable Conflict as shown in figure 17 (Simpson, 2012).

Although Modern Contemporary art has not been used in the same sense as propaganda art it has

had the same underlying effects. The story behind the art is often freedom, oppression and struggle

showing the artist’s pain through a means of beauty, although the word contemporary would

suggest a highly powerful influence from postmodern culture thus explaining the paradoxical

essence of this art form. For this reason, many argue about the true meaning of ‘Contemporary art’

(Kirby, 2013).

The use of Semiotics can be applied to give understanding to the art of this genre especially due to

the paradox elements of it. When using Semiotics to break down figure 16 it is clear to see that the

paradox is due to the fact the butterfly is used to represent freedom whereas the hands that reach

to it are bound by chains, chains are symbolically linked with oppression, struggle and imprisonment

(Chandler, 2012). Semiotics would suggest that the picture is symbolising either an individuals or a

societies struggle and fight for freedom. Figure 17 is expressing the right to freedom of speech, the

paradox presented in this is due to the man’s mouth being taped shut but has freedom boldly

written on it suggesting that he is trying to shout for his freedom but is not allowed to make a sound.

Figure 16 (Jordan, 2012) Figure 17 (Ahmad, 2011)

There are various methods and effects in Modern Contemporary art that could influence the human

mind none being as strongly influential as Realism and Surrealism, both on opposite sides of the

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spectrum; they still affect modern contemporary art today. Surrealism targets the viewer’s

unconscious and is used to break down barriers between what is real (Rational) and fake

(Imagination) (Gersh-Nesic, 2012). This is often due to the fact the imagery is generally highly

symbolic and yet warped due to the fact it is a product of the unconscious mind being released into

the ‘Conscious world’ (Klinsohr-Leroy, 2007).

Maughan (2009) explains that the unconscious mind leads to a more inspirational artistic output as

opposed to the rational mind therefore giving more insight into the artists or individual’s mind,

culture, fears and desires. Surrealism is heavily reliant on Sigmund Freud’s theory of Free association

and Dream analysis (Lomas, 2001).

In essence Freud believed that the most influential part of the mind was the unconscious, the

unconscious is difficult to get into, this is due to various defence mechanisms which have been

developed to protect humans from feelings such as guilt and anxiety (McLeod, 2008). Freud argued

that the content of the unconscious comes out in dreams and in what are known as ‘Slips of the

tongue’, other methods such as psychoanalysis can uncover the unconscious via therapy allow

patients to take practice in “free associating” for example getting patients to say whatever floats into

their mind, thus fee associating and expanding the ideals of free association (Lomas, 2001). He

believed that people’s actions are influenced by unconscious wishes and desires, however both are

not easily established and as Freud believed one way to discover these is though the analysis of an

individual’s dreams as they represent the content of the unconscious although often in a symbolic or

disguised form (Brain, 2008). When discussed in relation to Surrealism, it is argued that the art form

is an outlet for expressing unconscious thought and the imagery is often found and developed in the

artist’s dreams, thus creating the breakdown of the barriers between what is real and what is

imaginary (Lomas, 2001; Gersh-Nesic, 2012). However Brain (2008) argues that Freudian theory is

unscientific and unable to be generalised, this is due to the fact the case studies used would often be

specific to a certain group of people.

Realism on the other hand is the application of targeting the real, depicting real things relayed from

the conscious mind. Realist contemporary art often known as modern fine art is used to portray a

belief that only exists to the individual or artist, when using it in a practical sense it is often used as a

way of showing an ordinary life situations, an example of this art form would be portraits (Elkins Et

Al, 2012).Elkins (2012) argues that although there may be a lesser form of inspiration within the

Realist art the artistic output is greater and more influential than surrealist art as seen in figure 18.

This is thought to be due to the fact more people can relate to and appreciate Realist art as opposed

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to Surrealist art due to the fact it can often be hard to interpret because they are more specific to

the individuals own ideals, thoughts and desires as seen in figure 19.

Figures 18 and 19 give examples of both art forms.

(Realism) Figure 18 (Kush, 1978) (Surrealism) Figure 19 (Laurence, 1996)

In relation to advertising Contemporary art is the most evident art form used today; it applies the

effects of the art so vividly and yet discreetly. It mergers both realism and surrealism into one,

leaving lasting imagery in customers minds (Minter, 2007). A famous example of this can be seen in

figure 20 as the idea of a realist image with a surrealist element has been used to effectively leave a

lasting image in individual’s minds. Contemporary advertisements target the subconscious mind

through complex observation resulting in attacks of the conscious mind this is often known as

brainwashing. Brainwashing in essences as stated by Simpson (2008) in the Oxford English Dictionary

is “pressurize (someone) into adopting radically different beliefs by using systematic and often

forcible means.” With the application of brainwashing advertising has become highly influential in

the way modern societies live today (Tedeschi, 2009).

Figure 20 (Davydyuk, 2011)

Large companies apply forms of brainwashing through advertisement to suppress lesser needs and

enhance greater desires (Singer, 2003). Most notably Coca-Cola and the advertisement of Diet Coke.

Diet coke predominantly targets those who are trying to ‘lose weight’ they do this by using athletes

and beauty models in their advertisement as seen in figure 21. Coca-Cola will attack the conscious

mind to break down barriers by saying that it is good for you and will help you although many have

identified that it is not, when complete the advertisement will target the unconscious mind by

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subliminal messages instilling into the individual’s thoughts the attitude of “I can drink it because it is

good for me”, along with “drinking diet coke will make me lose weight” (Lechnar, 2004).

When applying semiotic association to the example of Diet coke it could be argued that the imagery

is used to associate with certain groups instead of giving the idea of ‘it will make me lose weight’.

This is evident with the fact that Coca-Cola will often have high profile athletes such as David

Beckham and beauty models or singers such as Taylor Swift. Famously Diet Coke has targeted a

female audience, normal Coke targets a generic audience and Coke Zero has targeted a male

audience.

When looking at the psychological theory behind the application of modern contemporary art in

advertising, it could be argued that the most influential theory would be Behaviourism and in

particular positive reinforcement (Walker, 2010). The basic principles of Behaviourism state that all

behaviour is learned and that if behaviour is rewarded the same behaviour is often likely to be

repeated and as stated by John B Watson (the founder of Behaviourist theory) behaviour can be

measured, trained and changed (Staats, 1996), The idea of something being good for you (in this

case Diet Coke) even though it is not, is positively reinforced via the notion of the perfect body being

formed by individuals using this product. Along with positive reinforcement Bandura’s ‘Social

Learning theory’ also holds effect in advertising. Both Brain (2008) and Cherry (2012) explain that the

Social Learning theory in basic terms is an individual’s ability to learn new information as well as new

behaviours by watching others (this is also known Observational learning). Bandura made this theory

famous through his ‘Bobo doll experiment’. Examples of both positive reinforcement and social

learning theory in advertising can be seen in below in figure 21.

Figure 21 shows that anything is achievable including facing the impossible or beating an extreme

task with the aid of Diet Coke, the example shows a can of Diet Coke breaking though a mountain

alongside a slim and extremely athletic-looking female climbing the side of a mountain with relative

ease and without safety gear. This imagery causes positive reinforcement in that it gives the feeling

to consumers if I drink Diet Coke I can do that to.

Figure 21 (Coca-Cola, 1986).

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Examples of Contemporary advertisement show below in figures 22, 23 and 24.

Figure 22 (Hiroshima, 2006).

Figure 23 (VW Design, 2008).

Figure 24 (Absolut, 2010)

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Behaviourist theory has often been criticised for its overly mechanical views on humans, stating

humans are born a blank slate and all behaviour is learnt through the surrounding environments

(Brain, 2008). Walker (2010) explains that the theory does not take into consideration internal

thoughts and factors due to the fact they are discredited in that they would have originally been

learnt through an exterior factor.

In summary Modern Contemporary art would suggest evidence of contribution made by

psychological theory, most importantly Freud’s Free association and Dream analysis, Behaviourism

and Social learning theory and in order to apply them to modern day advertisements each individual

theory and their effects must be taken into account when applying Modern Contemporary art forms

into modern advertising.

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Conclusion

Within each chapter there have been points that would suggest advertising and art have held

reliance on psychology, each art form in their own right has used various psychological theories in

order to achieve greater effect and these theories and art forms have been used in advertising in

order to achieve this to.

Propaganda art has shown use of subliminal messaging and when applied in advertising it has been

used to make consumers feel the need to buy products, without them actually knowing why they

want or need the product (Knight, 2003). However subliminal messaging and the use of it has been

discredited due to various studies such as Vicary and his experiment in the cinema suggesting that

subliminal messaging has no effect on the mind. With the evidence at hand it is arguable that

subliminal messaging has been used in Propaganda art and therefore been applied to advertising

giving it greater desired effect with the application of the art form and the surrounding psychological

theory within it.

Pop art has shown reliance on various psychological theories, none more apparent than the ideals of

Conformity and Humanism. Although the two theories may show conflicting ideals it is apparent that

both theories have been applied in advertising through Pop artists such as Andy Warhol and Peter

Blake. Modern Contemporary art has particularly shown use of various psychological theories

especially when applied to advertising (Lechnar, 2004). Ads using Modern Contemporary Art have

shown reliance on brainwashing, positive reinforcement and various other behaviourist theories

such as the social learning theory (Cherry, 2012).

Therefore it can be argued that without the application of psychology through art, advertising would

have failed to progress as an industry, through modern history psychology has been used in

advertising via various application of the arts. There are however some limitations to the studies that

have been upheld, many studies have only been taken in relation to large companies and

corporations therefore not giving an accurate view on advertising as a whole, this is due to the fact

advertising effects all companies including small shops, niche markets and specialist areas therefore

potential flaws may be found in the evidence given. As well as small companies not being

represented there is also the fact that art being so broad and often arguable as well as psychology

holding the same problems, meaning it could be argued that not enough art forms and psychological

theory has been looked into and therefore leaving potential gaps in any findings gathered.

Furthermore a broader understanding of Semiotics may give a greater understanding into the effects

of the imagery used in advertising and art. From the foreclosed information it is apparent that

Ashley Jones 25


June 4, 2013

without art and the psychological effects it presents, the advertising industry may not have

developed at the rate it has and therefore suggesting that art and psychology are key to the

progression of advertising.

It can be disclosed that a further look in to advertising and the history of advertising may find a more

definitive answer to whether or not art and its psychological effects has aided the development of

the advertising industry as there may be other influential factors that have aided the development of

the industry.

It is apparent that there is a recurring relationship between art, psychology and advertising; in that if

advertising uses art to gain use of psychology it is more effective therefore it will use more art forms

and their psychological effects in order to progress develop more efficiently and effectively.

Final word count (5164)

Ashley Jones 26


June 4, 2013

Reference ListAranda Et Al. (2010). What is Contemporary Art?. In: Aranda, J. Kuan Wood, B. And Vidokle, A. “e-flux Journal: What is Contemporary Art?”. London: Sternberg Press. p6-7.

BBC. (2012). “10 Steps to revision success”. Available: http://www.bbc.co.uk/schools/studentlife/revisionandskills/revision/10_steps_to_revision_success.shtml. [Accessed on: 09/06/2013].

Brain, C. (2008). Clinical Psychology - Dream Analysis. In: Edexcel “Edexcel A2 Psychology”. 3rd ed. London: Philip Allan Updates. p267-270.

Brain, C. (2008). Hierarchy of Needs. In: Edexcel “Edexcel A2 Psychology”. 3rd ed. London: Philip Allan Updates. p179-180.

Brain, C. (2008). Humanist Approach. In: Edexcel “Edexcel A2 Psychology”. 3rd ed. London: Philip Allan Updates. p270-272.

Bytwerk, R. (2004). Arts and Entertainment. In: Mechling, J. and Murphy, J. “Bending Spines: The Propagandas of Nazi Germany and the German Democratic Republic (Rhetoric & Public Affairs)”. East Lancing: Michigan State University Press. p109-131.

Cabrera, C. (2011). “WWII Propaganda”. Available: http://blogs.baylor.edu/propagandaovertime/. [Accessed on: 10/03/2013].

Cardwell et al. (2009). Conformity. In: AQA “Psychology - Psychology AS for AQA”. 4th ed. London: Harper Collins publishing. p181-190.

Chandler, T. (2012). “Imagery and symbolism: Chains, files and prisons”. Available: http://www.crossref-it.info/textguide/Great-Expectations/5/517. [Accessed on: 09/06/2013].

Cherry, K. (2012). “The Five Levels of Maslow's Hierarchy of Needs”. Available: http://psychology.about.com/od/theoriesofpersonality/a/hierarchyneeds.htm. [Accessed on: 04/06/2013].

Cherry, K. (2012). “Humanistic Psychology - The 'Third force' in Psychology”. Available: http://psychology.about.com/od/historyofpsychology/a/hist_humanistic.htm. [Accessed on: 04/06/2013].

Cherry, K. (2012). Social Learning Theory: An Overview of Bandura's Social Learning Theory. Available: http://psychology.about.com/od/developmentalpsychology/a/sociallearning.htm. [Accessed on: 12/05/2013].

Coca-Cola, 2001. "Serving 500 million people in 26 countries”, Annual report 2001, Uxbridge: Coca-Cola Head office.

Elkins, J et al (2012). “Theorizing Visual Studies.” London: Routledge. P10-17.

Ashley Jones 27

http://psychology.about.com/od/developmentalpsychology/a/sociallearning.htm

http://www.bbc.co.uk/schools/studentlife/revisionandskills/revision/10_steps_to_revision_success.shtml



June 4, 2013

Elmore, S. (2007). “Art history: Understanding pop art”. Available: http://www.helium.com/items/462486-Art-History. [Accessed on: 04/06/2013].

Fehrman, K (2010). “Colour: The Secret Influence”. 2nd ed. New Jersey: Prentice Hall.

Fleming, G. (2012). “Narrow Your Research Topic”. Available: http://homeworktips.about.com/od/paperassignments/a/narrow.htm. [Accessed on: 09/06/2013].

Fouts et al. (2006). Demonizing in Children's Television Cartoons and Disney Animated Films. “Child Psychiatry and Human Development”. 37 (1), p15-23.

Friedman, V. (2008). “Pop Art Is Alive: Classics and Modern Artworks”. Available: http://www.smashingmagazine.com/2008/07/21/pop-art-is-alive-classics-and-modern-artworks/. [Accessed on: 04/06/2013].

Gersh-Nesic, B. (2013). “Pop Art - Art History 101 Basics”. Available: http://arthistory.about.com/od/modernarthistory/a/Pop-Art-Art-History-101-Basics.htm. [Accessed on: 17/04/2013].

Gersh-Nesic, B. (2012). “Surrealism - Art History 101 Basics: Early 1920s to the Present”. Available: http://arthistory.about.com/od/modernarthistory/a/Surrealism-Art-History-101-Basics.htm. [Accessed on: 12/05/2013].

Harrison, S. (2001). Post-Modernist Assumptions. In: Harrison, S “Pop Art and the Origins of Postmodernism”. Cambridge: Cambridge University Press. p11-17.

Honnef, K. (2004). Pop Art. In: Grosenick, U. “Pop Art”. 3rd ed. Cologne: Taschen. p6-28.

Kirby, A. (2013). “The Death of Postmodernism and Beyond”. Available: http://philosophynow.org/issues/58/The_Death_of_Postmodernism_And_Beyond. [Accessed on: 05/04/2013].

Kizlik, B. (2008). “Effective Study Skills”. Available: http://www.adprima.com/studyout.htm. [Accessed on: 09/06/2013].

Klinsohr-Leroy, C. (2007). Introduction. In: Taschen Editors “Surrealism”. 3rd ed. Cologne: Taschen Publishers. p7-18.

Knight, P. (2003). Subliminal Advertising. In: Knight, P “Conspiracy Theories in American History: An Encyclopaedia”. California: Penguin Books. p485-486.

Kuspit, D (2008). “George Segal: Modernist Humanist”. 1st ed. New York: Montclair State University Press.

Lechnar. (2004). “Subliminal Advertising and Modern Day Brainwashing”. Available: http://www.redicecreations.com/specialreports/brainwash.html. [Accessed on: 05/04/2013].

Lilienfeld et al. (2010). Brain Power. In: Lynn, S and Beyerstein, B “50 Great Myths of Popular Psychology”. Malden: Blackwell Publishing. p21-36.

Ashley Jones 28


June 4, 2013

Lomas, D. (2001). The Omnipotence of desire: Surrealism, Psychoanalysis and Hysteria. In: Mundy, J. Gille, V and Ades, D. Surrealism: Desire Unbound. London: Princeton University Press. p55-79.

Love, D. (2006). “The Shocking History of Subliminal Messaging”. Available: http://www.businessinsider.com/subliminal-ads-2011-5?op=1. Last accessed 11/03/2013.

Madoff, S. (1997). Introduction. In: Flam, J. and Motherwell R “Pop Art: A Critical History”. 2nd ed. London: University of California Press. pXiii.

Maughan, J. (2009). “What is Surrealism?” Available: http://www.wisegeek.org/what-is-surrealism.htm. [Accessed on: 05/04/2013].

McLeod, S. (2008). “Asch Experiment”. Available: http://www.simplypsychology.org/asch-conformity.html. Last accessed 04/06/2013.

McLeod, S. (2008). “Defence Mechanisms”. Available: http://www.simplypsychology.org/defense-mechanisms.html. Last accessed 04/06/2013.

McLeod, S. (2007). “What is Conformity?”. Available: http://www.simplypsychology.org/conformity.html. Last accessed 04/06/2013.

Minter. (2007). “The State of Contemporary Art & Ads as New Art”. Available: http://www.minterdial.com/2007/10/the-state-of-contemporary-art-ads-as-new-art/. [Accessed on: 05/04/2013].

Mlodinow, L (2011).”Subliminal: The New Unconscious and What it Teaches Us”. London: Penguin Books. p6-19.

Niedzviecki, H. (2006). Conformity. In: Lewis, S. and Staal, S. “Hello, I'm Special: How Individuality Became the New Conformity”. 2nd ed. San Francisco: City Lights Publishers. p64-72.

Osterwold, T. (2003). Pop Art - A Movement in the Sixties. In: Galbraith I “Pop Art”. 3rd ed. Berlin: Taschen. p6-7.

Osterwold, T. (2003). Peter Blake. In: Galbraith I “Pop Art”. 3rd ed. Berlin: Taschen. P202-210.

Phaidon Editors (2006) “Andy Warhol: Giant Size”, London: Phaidon.

Rieger, B (2013). “The People's Car: A Global History of the Volkswagen Beetle”. London: Harvard University Press.

Simpson, J. (2012). Anarchy. In: “The Oxford English Dictionary” Vol:3 Oxford: Oxford University Press.

Simpson, J. (2012). Brainwashing. In: “The Oxford English Dictionary” Vol:3 Oxford: Oxford University Press.

Simpson, J. (2012). Paradox. In: “The Oxford English Dictionary” Vol:3 Oxford: Oxford University Press.

Simpson, J. (2012). Pop art. In: “The Oxford English Dictionary” Vol:3 Oxford: Oxford University Press.

Ashley Jones 29


June 4, 2013

Sinclair, J. (2012). “Subliminal Messaging”. Available: http://www.collinsdictionary.com/dictionary/english/subliminal-message. [Accessed on: 09/06/2013].

Singer, MT. (2003). The Process of Brainwashing, Psychological Coercion and Thought Reform. In: Lorne, L and Dawson, M. “The "Brainwashing" Controversy”. Malden: Blackwell. p147-159.

Smith et al. (2005). “The New Unconscious”. London: Oxford University Press. p77-104.

Staats, W. (1996). The basic learning/ Behaviour theory. In: Staats, A. “Behaviour and Personality: Psychological Behaviourism”. 2nd ed. New York: Springer Publishing Company. p37-75.

Tedeschi, J. (2009). Cognative Complexity and Social Influence. In: Tedeschi, J. The Social Influence Processes. New York: Aldine Transcation. p169-171.

Tolkien, J (1954). “The Lord of the Rings: The Fellowship of the Ring”. London: Harper Collins Publishers. p57.

University of Reading. (2012). “Planning and structuring your essay”. Available: http://www.reading.ac.uk/internal/studyadvice/StudyResources/Essays/. [Accessed on: 09/06/2013].

Walker, A. (2010). “Positive Behaviourism: Our Visual Economy Pt. II”. Available: http://www.curatorscamera.com/unfinished-worlds/2010/09/positive-behaviourism-our-visual-economy-pt-ii.html. [Accessed on: 04/06/2013].

Wharton, C. (2013). Art and Advertising - circa 1880 to the present. In: Wharton, C “Advertising as Culture”. UK: The University of Chicago Press. p127-142.

Pictures

Ahmad, SZ. (2011). “Freedom of Expression”. [Drawing] (Institute of Contemporary arts gallery).

Appeagle. (2012). "Lighting the brain". [Light Art] (appeagle studios).

Bae, S. (2007). "Nine inverse proportion problems we have" [Modern Pop Advertisment] (Sung-Ho Bae personal gallery)

Blais, P (208). "Coke Doggy". [Pop Animation] (Pascal Blais Animation Studios)

Blake, P. (1963) “Best Minute of the Day” [Painting] (London: Coca-Cola Museum).

Clarke, G. (1943). "Buy more War bonds and Stamps". [Poster] (US National War Archives).

Coca-Cola Company. (1986)."One Small Calorie: Taste It All". [Contemporary Photography] (Coca-Cola advert history.

Goebbels. (1939). "Der Deutsche Student". [Poster] (National War Archives).

Jordan, R. (2012). "The Bonds of Freedom". [Painting] (View Art Gallery Bristol).

Ashley Jones 30


June 4, 2013

Kush, V. (1978). “Metamorphosis”. [Painting] (Vladimir Kush own personal gallery).

Laurence, G. (1996). "We're All Mad Here". [Painting] (Geoffrey Laurence own personal gallery).

Swarez. (2012). "Cosmos" [Painting] (Gloucestershire: Swarez modern art gallery)

Swarez. (2012). "Paradigm Shift" [Painting] (Gloucestershire: Swarez modern art gallery).

Warhol, A. (1968). “Campbell's soup”. [Painting] (New York: Museum of Modern Art).

Warhol, A. (1962). “Marilyn Monroe”. [Painting] (New York: Museum of Modern Art).

Warhol, A. (1963). “Triple Elvis”. [Painting] (Andy Warhol Museum).

Warhol, A. (1962). “5 Coca-Cola Bottles”. [Painting] (New York: Museum of Modern Art).


Zec. (1941). “Women of Britain come into the Factories”. [Poster] (Imperial War Museum).

Ashley Jones 31


June 4, 2013

BibliographyAranda Et Al. (2010). What is Contemporary Art?. In: Aranda, J. Kuan Wood, B. And Vidokle, A. “e-flux Journal: What is Contemporary Art?”. London: Sternberg Press. p6-7.

BBC. (2012). “10 Steps to revision success”. Available: http://www.bbc.co.uk/schools/studentlife/revisionandskills/revision/10_steps_to_revision_success.shtml. [Accessed on: 09/06/2013].

Beasley et al (2002). “Persuasive Signs: The Semiotics of Advertising”. 3rd ed. New York: Mouton de Gruyter.

Brain, C. (2008). Clinical Psychology - Dream Analysis. In: Edexcel “Edexcel A2 Psychology”. 3rd ed. London: Philip Allan Updates. p267-270.

Brain, C. (2008). Hierarchy of Needs. In: Edexcel “Edexcel A2 Psychology”. 3rd ed. London: Philip Allan Updates. p179-180.

Brain, C. (2008). Humanist Approach. In: Edexcel “Edexcel A2 Psychology”. 3rd ed. London: Philip Allan Updates. p270-272.

Bopry, J. (2008). “Semiotics, Epistemology, and Inquiry”. Available: http://www.und.edu/dept/ehd/journal/Fall2002/bopry.html. [Accessed on: 09/06/2013].

Bytwerk, R. (2004). Arts and Entertainment. In: Mechling, J. and Murphy, J. “Bending Spines: The Propagandas of Nazi Germany and the German Democratic Republic (Rhetoric & Public Affairs)”. East Lancing: Michigan State University Press. p109-131.

Cabrera, C. (2011). “WWII Propaganda”. Available: http://blogs.baylor.edu/propagandaovertime/. [Accessed on: 10/03/2013].

Cardwell et al. (2009). Conformity. In: AQA “Psychology - Psychology AS for AQA”. 4th ed. London: Harper Collins publishing. p181-190.

Chandler, T. (2012). “Imagery and symbolism: Chains, files and prisons”. Available: http://www.crossref-it.info/textguide/Great-Expectations/5/517. [Accessed on: 09/06/2013].

Cherry, K. (2012). “The Five Levels of Maslow's Hierarchy of Needs”. Available: http://psychology.about.com/od/theoriesofpersonality/a/hierarchyneeds.htm. [Accessed on: 04/06/2013].

Cherry, K. (2012). “Humanistic Psychology - The 'Third force' in Psychology”. Available: http://psychology.about.com/od/historyofpsychology/a/hist_humanistic.htm. [Accessed on: 04/06/2013].

Cherry, K. (2012). Social Learning Theory: An Overview of Bandura's Social Learning Theory. Available: http://psychology.about.com/od/developmentalpsychology/a/sociallearning.htm. [Accessed on: 12/05/2013].

Ashley Jones 32

http://psychology.about.com/od/developmentalpsychology/a/sociallearning.htm




June 4, 2013

Coca-Cola, 2001. "Serving 500 million people in 26 countries”, Annual report 2001, Uxbridge: Coca-Cola Head office.

Collings, M (1999). “This is Modern Art”. London: Weidenfeld & Nicolson.

Elkins, J et al (2012). “Theorizing Visual Studies.” London: Routledge. P10-17.

Elmore, S. (2007). “Art history: Understanding pop art”. Available: http://www.helium.com/items/462486-Art-History. [Accessed on: 04/06/2013].

ELS. (2011). “Planning a Critical Review”. Available: http://www.qmu.ac.uk/els/docs/Critical%20review.pdf. [Accessed on: 09/06/2013].

Fehrman, K (2010). “Colour: The Secret Influence”. 2nd ed. New Jersey: Prentice Hall.

Fleming, G. (2012). “Narrow Your Research Topic”. Available: http://homeworktips.about.com/od/paperassignments/a/narrow.htm. [Accessed on: 09/06/2013].

Fouts et al. (2006). Demonizing in Children's Television Cartoons and Disney Animated Films. “Child Psychiatry and Human Development”. 37 (1), p15-23.

Friedman, V. (2008). “Pop Art Is Alive: Classics and Modern Artworks”. Available: http://www.smashingmagazine.com/2008/07/21/pop-art-is-alive-classics-and-modern-artworks/. [Accessed on: 04/06/2013].

Gersh-Nesic, B. (2013). “Pop Art - Art History 101 Basics”. Available: http://arthistory.about.com/od/modernarthistory/a/Pop-Art-Art-History-101-Basics.htm. [Accessed on: 17/04/2013].

Gersh-Nesic, B. (2012). “Surrealism - Art History 101 Basics: Early 1920s to the Present”. Available: http://arthistory.about.com/od/modernarthistory/a/Surrealism-Art-History-101-Basics.htm. [Accessed on: 12/05/2013].

Grant, J (2002). “After Image: Mind-Altering Marketing”. 2nd ed. London: Harper Collins Publishing.

Harrison, S. (2001). Post-Modernist Assumptions. In: Harrison, S “Pop Art and the Origins of Postmodernism”. Cambridge: Cambridge University Press. p11-17.

Honnef, K. (2004). Pop Art. In: Grosenick, U. “Pop Art”. 3rd ed. Cologne: Taschen. p6-28.

Kirby, A. (2013). “The Death of Postmodernism and Beyond”. Available: http://philosophynow.org/issues/58/The_Death_of_Postmodernism_And_Beyond. [Accessed on: 05/04/2013].

Kizlik, B. (2008). “Effective Study Skills”. Available: http://www.adprima.com/studyout.htm. [Accessed on: 09/06/2013].

Klinsohr-Leroy, C. (2007). Introduction. In: Taschen Editors “Surrealism”. 3rd ed. Cologne: Taschen Publishers. p7-18.

Ashley Jones 33


June 4, 2013

Knight, P. (2003). Subliminal Advertising. In: Knight, P “Conspiracy Theories in American History: An Encyclopaedia”. California: Penguin Books. p485-486.

Kuspit, D (2008). “George Segal: Modernist Humanist”. 1st ed. New York: Montclair State University Press.

Lechnar. (2004). “Subliminal Advertising and Modern Day Brainwashing”. Available: http://www.redicecreations.com/specialreports/brainwash.html. [Accessed on: 05/04/2013].

Lilienfeld et al. (2010). Brain Power. In: Lynn, S and Beyerstein, B “50 Great Myths of Popular Psychology”. Malden: Blackwell Publishing. p21-36.

Lomas, D. (2001). The Omnipotence of desire: Surrealism, Psychoanalysis and Hysteria. In: Mundy, J. Gille, V and Ades, D. Surrealism: Desire Unbound. London: Princeton University Press. p55-79.

Love, D. (2006). “The Shocking History of Subliminal Messaging”. Available: http://www.businessinsider.com/subliminal-ads-2011-5?op=1. Last accessed 11/03/2013.

Madoff, S. (1997). Introduction. In: Flam, J. and Motherwell R “Pop Art: A Critical History”. 2nd ed. London: University of California Press. pXiii.

Maughan, J. (2009). “What is Surrealism?” Available: http://www.wisegeek.org/what-is-surrealism.htm. [Accessed on: 05/04/2013].

McLeod, S. (2008). “Asch Experiment”. Available: http://www.simplypsychology.org/asch-conformity.html. Last accessed 04/06/2013.

McLeod, S. (2008). “Defence Mechanisms”. Available: http://www.simplypsychology.org/defense-mechanisms.html. Last accessed 04/06/2013.

McLeod, S. (2007). “What is Conformity?”. Available: http://www.simplypsychology.org/conformity.html. Last accessed 04/06/2013.

Minter. (2007). “The State of Contemporary Art & Ads as New Art”. Available: http://www.minterdial.com/2007/10/the-state-of-contemporary-art-ads-as-new-art/. [Accessed on: 05/04/2013].

Mlodinow, L (2011).”Subliminal: The New Unconscious and What it Teaches Us”. London: Penguin Books. p6-19.

Niedzviecki, H. (2006). Conformity. In: Lewis, S. and Staal, S. “Hello, I'm Special: How Individuality Became the New Conformity”. 2nd ed. San Francisco: City Lights Publishers. p64-72.

Osterwold, T. (2003). Pop Art - A Movement in the Sixties. In: Galbraith I “Pop Art”. 3rd ed. Berlin: Taschen. p6-7.

Osterwold, T. (2003). Peter Blake. In: Galbraith I “Pop Art”. 3rd ed. Berlin: Taschen. P202-210.

Phaidon Editors (2006) “Andy Warhol: Giant Size”, London: Phaidon.

Ashley Jones 34


June 4, 2013

Rieger, B (2013). “The People's Car: A Global History of the Volkswagen Beetle”. London: Harvard University Press.

Simpson, J. (2012). Anarchy. In: “The Oxford English Dictionary” Vol:3 Oxford: Oxford University Press.

Simpson, J. (2012). Brainwashing. In: “The Oxford English Dictionary” Vol:3 Oxford: Oxford University Press.

Simpson, J. (2012). Paradox. In: “The Oxford English Dictionary” Vol:3 Oxford: Oxford University Press.

Simpson, J. (2012). Pop art. In: “The Oxford English Dictionary” Vol:3 Oxford: Oxford University Press.

Sinclair, J. (2012). “Subliminal Messaging”. Available: http://www.collinsdictionary.com/dictionary/english/subliminal-message. [Accessed on: 09/06/2013].

Singer, MT. (2003). The Process of Brainwashing, Psychological Coercion and Thought Reform. In: Lorne, L and Dawson, M. “The "Brainwashing" Controversy”. Malden: Blackwell. p147-159.

Smith et al. (2005). “The New Unconscious”. London: Oxford University Press. p77-104.

Staats, W. (1996). The basic learning/ Behaviour theory. In: Staats, A. “Behaviour and Personality: Psychological Behaviourism”. 2nd ed. New York: Springer Publishing Company. p37-75.

Tedeschi, J. (2009). Cognative Complexity and Social Influence. In: Tedeschi, J. The Social Influence Processes. New York: Aldine Transcation. p169-171.

Tolkien, J (1954). “The Lord of the Rings: The Fellowship of the Ring”. London: Harper Collins Publishers. p57.

University of Reading. (2012). “Planning and structuring your essay”. Available: http://www.reading.ac.uk/internal/studyadvice/StudyResources/Essays/. [Accessed on: 09/06/2013].

Walker, A. (2010). “Positive Behaviourism: Our Visual Economy Pt. II”. Available: http://www.curatorscamera.com/unfinished-worlds/2010/09/positive-behaviourism-our-visual-economy-pt-ii.html. [Accessed on: 04/06/2013].

Wharton, C. (2013). Art and Advertising - circa 1880 to the present. In: Wharton, C “Advertising as Culture”. UK: The University of Chicago Press. p127-142.

Pictures

Ahmad, SZ. (2011). “Freedom of Expression”. [Drawing] (Institute of Contemporary arts gallery).

Appeagle. (2012). "Lighting the brain". [Light Art] (appeagle studios).

Bae, S. (2007). "Nine inverse proportion problems we have" [Modern Pop Advertisment] (Sung-Ho Bae personal gallery)

Ashley Jones 35


June 4, 2013

Blais, P (208). "Coke Doggy". [Pop Animation] (Pascal Blais Animation Studios)

Blake, P. (1963) “Best Minute of the Day” [Painting] (London: Coca-Cola Museum).

Clarke, G. (1943). "Buy more War bonds and Stamps". [Poster] (US National War Archives).

Coca-Cola Company. (1986)."One Small Calorie: Taste It All". [Contemporary Photography] (Coca-Cola advert history.

Goebbels. (1939). "Der Deutsche Student". [Poster] (National War Archives).

Jordan, R. (2012). "The Bonds of Freedom". [Painting] (View Art Gallery Bristol).

Kush, V. (1978). “Metamorphosis”. [Painting] (Vladimir Kush own personal gallery).

Laurence, G. (1996). "We're All Mad Here". [Painting] (Geoffrey Laurence own personal gallery).

Swarez. (2012). "Cosmos" [Painting] (Gloucestershire: Swarez modern art gallery)

Swarez. (2012). "Paradigm Shift" [Painting] (Gloucestershire: Swarez modern art gallery).

Warhol, A. (1968). “Campbell's soup”. [Painting] (New York: Museum of Modern Art).

Warhol, A. (1962). “Marilyn Monroe”. [Painting] (New York: Museum of Modern Art).

Warhol, A. (1963). “Triple Elvis”. [Painting] (Andy Warhol Museum).



Zec. (1941). “Women of Britain come into the Factories”. [Poster] (Imperial War Museum).

Ashley Jones 36


June 4, 2013

Critical Evaluation

This project has both its own strengths and weaknesses; I feel the first strength of this project is that

it has used multiple art forms and psychological effects in order to gain a more rounded set of

results, however with the limitation of 5000 words for the project has restricted the amount of art

forms and psychological theories that could be used to find results and therefore possibly

compromising the accuracy of the end result. I believe the use of images to solidify claims however

has been beneficial to this project in that it gives an active example of the effects the art forms can

present and also gives something for readers to enjoy and stay engaged with whilst reading the

project. Most importantly I feel the clear breakdown of structure within this project allows for an

easier read and greater understanding of the subject area. It is explained by the University of

Reading (2012) that a clear and flowing structure will enable an essay to be easier to read and will

help its readers to associate link between what is being argued and the results gathered.

I believe there are weaknesses within this project none more evident than the lack of sales statistics

and figures, I feel that with more sales figures and statistics, the argued effects of the art forms could

have been more influential resulting in a better understanding into the desired effects, as well this I

feel that a lesser look in to the art forms and a more in-depth look into advertising may have

resulted in to a more clear conclusion of effects. The reason I argue this is that the conclusion is not

as strong as I would like for it to be is due to this reason, although I have found an answer I feel that

the possibility of different factors causing the development may be probable, A further and deeper

study into the industry itself may help to shed light on this.

Overall I am happy with the end product of this project; I feel the fact that I have followed a strict set

of guidelines and rules in order to achieve the highest possible grade has aided me in my studies and

a background knowledge of advertising, psychology and art due to previous studies helped aid me to

form the link between the theories and therefore find the intended results, this is due to the fact I

knew the possible questions and complications I may have incurred (BBC, 2012).

There are various things that I would do again in relation to this project, I feel that my dedication to

achieve a distinction has help me to attend project meetings and ask for help from my project

supervisor, notoriously I have been a very lazy learner I have always been complacent in my

knowledge and therefore not always done what has been needed to achieve the best possible

grades, however due to the fact I have completed various drafts and met with my project supervisor

almost every week will ultimately result in the grade I have desired. Along with this I feel that the

extended hours in which I have used to read about each art form and psychological theory has

helped me greatly. Studies have shown that prior reading and good application of time often result

Ashley Jones 37


June 4, 2013

in better output and greater results (Kizlik, 2008). In the future however there are things I would do

differently. Proofreading for example, although I have read over my project countless times I believe

the application of proof reading more would stop any possible mistakes or confusing information

that may occur, proofreading allows for individuals to find mistakes and holes in information and

change them in order to solidify any claims and it also makes sure the piece of work is more credible

(Kizlik, 2008). Finally in the future If I was to write another project I would make sure I choose a less

broad subject area, I feel that the subject area used has been too broad resulting in conflicting and

confusing information, as well as finding credible information very hard due to the fact there is so

much information that is incorrect leading in less accurate results (Fleming, 2012).

In conclusion I would have to argue that with the strengths and weakness of myself and the project

in mind, there are many things in which I could do to improve my work. In the future I would apply

the lessons learnt from writing this project and apply them, proofreading and prior reading will be

essential to any future success as result of this, I feel that with this I will be able to drive to achieve

the highest possible grades and apply my knowledge to the fullest.

Ashley Jones 38

ashley jones final project

Documents

propaganda art

pop art

modern contemporary

use of psychology

advertising industry

recurring relationship

charlotte johnson

mauro mbala