Publicidade e pós-modernismo

Abstract

In the late seventies and extending to the eighties of the twentieth century, critical discourse in American visual arts has linked to the post-structuralism theories and observes a disidentification of the artistic activity with the assumptions of the hegemonic modernism. Occurring within that time, the exhibition named Pictures provided guidelines to this statement by pointing out a number of artists who will show oppositions with isolation and elitism of modern art by taking their practice to a critical intervention. For some of these, representation becomes bound with the analysis of the influence of image and also with a sense of the inescapable presence of the visual in cultural space. Because it shares a visual result with photography,the ubiquitous, volatile and fictitious nature of advertising finds through this medium an entry point into art, extending the relationship, always conflicted, between high art and mass culture. The awareness that photography provided another evidence, beyond the functional use of its technical abilities, put a new set of questions that come to dismantle the orthodox conception of modernism, who had Clement Greenberg as the main figure . Cindy Sherman, Barbara Kruger and Richard Prince exemplify an active positioning towards a social, cultural and political issues by observating gender representations, fetishization of consumer goods and denouncing how advertising affects social behavior and individual forms