All images CC-BY-NC 4.0 2025
This sequel further questions the relationship between art and ads. Are they compatible? Are they at war? Benjamin argues: “But as soon as the criterion of authenticity ceases to be applied to artistic production, the whole social function of art is revolutionized. Instead of being founded on ritual, it is based on a different practice: politics” (Benjamin). Elena Siemens
Matt Podmore
I chose to add graffiti to a magazine I thought was boring. I added comedy, doodles, captions and critiques to the photos and added art to a whole magazine made of advertisements. Fashion could be art, but Vogue would most likely do it for money. It’s an advertisement convincing you to buy everything you see. That magazine is only around to bring in money. The art I added to it is purely for Art’s sake. Matt Podmore
Elena Siemens
In this Mark Jacobs’ ad (F/W 2024), the oversized jacket alludes to the “sad clown” Pierrot, the skirt evokes Futurist art, and the pointed shoes (not shown) reference the Wicked Witch of the West. My hand-made Pinocchio’s hat completes the look, as well as bringing attention to the provocative, uneasy, yet inevitable dialogue between ads and art. Elena Siemens
Ava Stewart
This piece of art is an advertisement for a red lipstick. It is inspired by Andy Warhol’s Stamped Lips (1959). However, I used my own lips and lipstick. Ava Stewart
Gabriella Kaplan
Dadaism broke the rules, collaging chaos to resist meaning and force new ways of seeing. Today, fashion and advertising do something eerily similar by remixing images, trends, and messages until the line between rebellion and branding blurs. Like Lefebvre’s walker, we move through this visual noise, shaping meaning as we go. But McLuhan reminds us that it’s not just what we see, it’s how. In a world of aesthetic overload, both Dada and digital culture ask: are we expressing ourselves, or just being sold a version of it? Gabriella Kaplan
Emma Langerud
This advertisement is about the Korean Idol Industry. In this Industry the People (idols) became the marketable product – sometimes even instead of the music they create. Emma Langerud
