Real artists work in advertising, not in the fine arts

Real artists work in advertising, not in the fine arts

03 Apr 2003

An exploding garden shed. A video of a decomposing apple. When you come face-to-face with an exhibit in Tate Modern - or any other gallery of contemporary art - do you sometimes experience a feeling of exasperation? Maybe it's because you feel that you don't understand what's 'going on', that you're being conned in some way.

But more likely it's not so much that the emperor has no clothes - more the sense that he's stolen his wardrobe from somewhere else. Stolen it, to be precise, from the advertising industry. Aren't those cute conceptual games, those stylish lines, those visual conundrums, something you've seen on a billboard or a cinema ad? And if so, why are we lavishing praise and millions of pounds on the derivative efforts that find their way into posh galleries?

A panel of art dealers, critics, and experts debate the motion 'Real artists work in advertising, not in the fine arts'.

Arguing in favour of the motion are John Hegarty, Karen Wright, and Brian Sewell.

John Hegarty suggests that, if art's function is to inspire and talk to us, then it is advertising that captures the hopes, aspirations and concerns of the population - and it is doing this with a speed and diversity that the fine arts cannot match.

Karen Wright argues that, in order to make their art proliferate, artists have to become advertising men.

Brian Sewell praises the clarity and vision of modern advertising agencies and suggests that young artists would be better off being apprenticed at these agencies, not attending art schools.

Arguing against the motion are David Lee, Nicholas Bagshawe, and Alison Jackson.

David Lee highlights the ephemeral nature of art, pointing out that, whilst advertisements quickly become boring and defunct, there is an enduring quality to fine art.

Nicholas Bagshawe begins by admitting that he is a fan of advertising, but that he doesn’t consider it real art. A piece of advertising, he suggests, would be completely out of place in an art gallery.

Alison Jackson argues that any sophistication or complexity in commercial art (i.e. advertising) is subservient to the need to promote or sell goods or services.

First vote: 134 For, 154 Against

Final vote: 93 For, 224 Against.

The motion is defeated by 131 votes.