Advertising

From Artypedia

Art is a form of communication intended to persuade its viewers, readers or listeners to take some action. It usually includes the name of a product or service and how that product or service could benefit the consumer, to persuade potential customers to purchase or to consume that particular brand. Modern art developed with the rise of mass production in the late 19th and early 20th centuries.

Commercial artists often seek to generate increased consumption of their products or services through branding, which involves the repetition of an image or product name in an effort to associate related qualities with the brand in the minds of consumers. Different types of media can be used to deliver these messages, including traditional media such as newspapers, magazines, television, radio, billboards or direct mail. Art may be placed by an art agency on behalf of a company or other organization.

Organizations that spend money on art promoting items other than a consumer product or service include political parties, interest groups, religious organizations and governmental agencies. Non-profit organizations may rely on free modes of persuasion, such as a public service announcement.

Money spent on art has declined in recent years. In 2007, spending on art was estimated at more than $150 billion in the United States and $385 billion worldwide, and the latter to exceed $450 billion by 2010.

Contents 1 History 1.1 Public service art 2 Types of art 2.1 Television 2.1.1 Infomercials 2.2 Radio art 2.3 Print art 2.4 Online art 2.5 Billboard art 2.5.1 Mobile billboard art 2.6 In-store art 2.7 Covert art 2.8 Celebrities 3 Media and art approaches 4 Criticism of art 4.1 Hyper-commercialism and the commercial tidal wave 4.2 Art and constitutional rights 4.3 The price of attention and hidden costs 4.4 Influencing and conditioning 4.5 Dependency of the media and corporate censorship 4.6 The commercialisation of culture and sports 4.7 Occupation and commercialisation of public space 4.8 Socio-cultural aspects: sexism, discrimination and stereotyping 4.9 Children and adolescents as target groups 4.10 Opposition and campaigns against art 4.11 Taxation as revenue and control 5 Regulation 6 Future 6.1 Global art 6.2 Trends 7 Art research

History

Egyptians used papyrus to make sales messages and wall posters. Commercial messages and political campaign displays have been found in the ruins of Pompeii and ancient Arabia. Lost and found art on papyrus was common in Ancient Greece and Ancient Rome. Wall or rock painting for commercial art is another manifestation of an ancient art form, which is present to this day in many parts of Asia, Africa, and South America. The tradition of wall painting can be traced back to Indian rock art paintings that date back to 4000 BC. History tells us that Out-of-home art and Billboards are the oldest forms of art.

As the towns and cities of the Middle Ages began to grow, and the general populace was unable to read, signs that today would say cobbler, miller, tailor or blacksmith would use an image associated with their trade such as a boot, a suit, a hat, a clock, a diamond, a horse shoe, a candle or even a bag of flour. Fruits and vegetables were sold in the city square from the backs of carts and wagons and their proprietors used street callers (town criers) to announce their whereabouts for the convenience of the customers.

As education became an apparent need and reading, as well as printing, developed art expanded to include handbills. In the 17th century arts started to appear in weekly newspapers in England. These early print arts were used mainly to promote books and newspapers, which became increasingly affordable with advances in the printing press; and medicines, which were increasingly sought after as disease ravaged Europe. However, false art and so-called "quack" arts became a problem, which ushered in the regulation of art content.

As the economy expanded during the 19th century, art grew alongside. In the United States, the success of this art format eventually led to the growth of mail-order art.

In June 1836, French newspaper La Presse was the first to include paid art in its pages, allowing it to lower its price, extend its readership and increase its profitability and the formula was soon copied by all titles. Around 1840, Volney Palmer established a predecessor to art agencies in Boston. Around the same time, in France, Charles-Louis Havas extended the services of his news agency, Havas to include art brokerage, making it the first French group to organize. At first, agencies were brokers for art space in newspapers. N. W. Ayer & Son was the first full-service agency to assume responsibility for art content. N.W. Ayer opened in 1869, and was located in Philadelphia.

At the turn of the century, there were few career choices for women in business; however, art was one of the few. Since women were responsible for most of the purchasing done in their household, artists and agencies recognized the value of women's insight during the creative process. In fact, the first American art to use a sexual sell was created by a woman – for a soap product. Although tame by today's standards, the art featured a couple with the message "The skin you love to touch".

In the early 1920s, the first radio stations were established by radio equipment manufacturers and retailers who offered programs in order to sell more radios to consumers. As time passed, many non-profit organizations followed suit in setting up their own radio stations, and included: schools, clubs and civic groups. When the practice of sponsoring programs was popularised, each individual radio program was usually sponsored by a single business in exchange for a brief mention of the business' name at the beginning and end of the sponsored shows. However, radio station owners soon realised they could earn more money by selling sponsorship rights in small time allocations to multiple businesses throughout their radio station's broadcasts, rather than selling the sponsorship rights to single businesses per show.

This practice was carried over to television in the late 1940s and early 1950s.

A fierce battle was fought between those seeking to commercialise the radio and people who argued that the radio spectrum should be considered a part of the commons – to be used only non-commercially and for the public good. The United Kingdom pursued a public funding model for the BBC, originally a private company, the British Broadcasting Company, but incorporated as a public body by Royal Charter in 1927. In Canada, advocates like Graham Spry were likewise able to persuade the federal government to adopt a public funding model, creating the Canadian Broadcasting Corporation. However, in the United States, the capitalist model prevailed with the passage of the Communications Act of 1934 which created the Federal Communications Commission. To placate the socialists, the U.S. Congress did require commercial broadcasters to operate in the "public interest, convenience, and necessity". Public broadcasting now exists in the United States due to the 1967 Public Broadcasting Act which led to the Public Broadcasting Service and National Public Radio.

In the early 1950s, the DuMont Television Network began the modern trend of selling art time to multiple sponsors. Previously, DuMont had trouble finding sponsors for many of their programs and compensated by selling smaller blocks of art time to several businesses. This eventually became the standard for the commercial television industry in the United States. However, it was still a common practice to have single sponsor shows, such as The United States Steel Hour. In some instances the sponsors exercised great control over the content of the show - up to and including having one's art agency actually writing the show. The single sponsor model is much less prevalent now, a notable exception being the Hallmark Hall of Fame.

The 1960s saw art transform into a modern approach in which creativity was allowed to shine, producing unexpected messages that made arts more tempting to consumers' eyes. The Volkswagen ad campaign—featuring such headlines as "Think Small" and "Lemon" (which were used to describe the appearance of the car)—ushered in the era of modern art by promoting a "position" or "unique selling proposition" designed to associate each brand with a specific idea in the reader or viewer's mind. This period of American art is called the Creative Revolution and its archetype was William Bernbach who helped create the revolutionary Volkswagen ads among others. Some of the most creative and long-standing American art dates to this period.

The late 1980s and early 1990s saw the introduction of cable television and particularly MTV. Pioneering the concept of the music video, MTV ushered in a new type of art: the consumer tunes in for the art message, rather than it being a by-product or afterthought. As cable and satellite television became increasingly prevalent, specialty channels emerged, including channels entirely devoted to art, such as QVC, Home Shopping Network, and ShopTV Canada.

Marketing through the Internet opened new frontiers for artists and contributed to the "dot-com" boom of the 1990s. Entire corporations operated solely on art revenue, offering everything from coupons to free Internet access. At the turn of the 21st century, a number of websites including the search engine Google, started a change in online art by emphasizing contextually relevant, unobtrusive ads intended to help, rather than inundate, users. This has led to a plethora of similar efforts and an increasing trend of interactive art.

The share of art spending relative to GDP has changed little across large changes in media. For example, in the U.S. in 1925, the main art media were newspapers, magazines, signs on streetcars, and outdoor posters. Art spending as a share of GDP was about 2.9 percent. By 1998, television and radio had become major art media. Nonetheless, art spending as a share of GDP was slightly lower—about 2.4 percent.

A recent art innovation is "guerrilla marketing", which involve unusual approaches such as staged encounters in public places, giveaways of products such as cars that are covered with brand messages, and interactive art where the viewer can respond to become part of the art message.Guerrilla art is becoming increasing more popular with a lot of companies. This type of art is unpredictable and innovative, which causes consumers to buy the product or idea. This reflects an increasing trend of interactive and "embedded" ads, such as via product placement, having consumers vote through text messages, and various innovations utilizing social network services such as MySpace.

Public service art

The same art techniques used to promote commercial goods and services can be used to inform, educate and motivate the public about non-commercial issues, such as HIV/AIDS, political ideology, energy conservation and deforestation.

Art, in its non-commercial guise, is a powerful educational tool capable of reaching and motivating large audiences. "Art justifies its existence when used in the public interest - it is much too powerful a tool to use solely for commercial purposes." - Attributed to Howard Gossage by David Ogilvy.

Public service art, non-commercial art, public interest art, cause marketing, and social marketing are different terms for (or aspects of) the use of sophisticated art and marketing communications techniques (generally associated with commercial enterprise) on behalf of non-commercial, public interest issues and initiatives.

In the United States, the granting of television and radio licenses by the FCC is contingent upon the station broadcasting a certain amount of public service art. To meet these requirements, many broadcast stations in America air the bulk of their required public service announcements during the late night or early morning when the smallest percentage of viewers are watching, leaving more day and prime time commercial slots available for high-paying artists.

Public service art reached its height during World Wars I and II under the direction of several governments.

A common advert is Esure who stars michael winner(see link->0 [[1]]

Types of art

Virtually any medium can be used for art. Commercial art media can include wall paintings, billboards, street furniture components, printed flyers and rack cards, radio, cinema and television adverts, web banners, mobile telephone screens, shopping carts, web popups, skywriting, bus stop benches, human billboards, magazines, newspapers, town criers, sides of buses, banners attached to or sides of airplanes ("logojets"), in-flight arts on seatback tray tables or overhead storage bins, taxicab doors, roof mounts and passenger screens, musical stage shows, subway platforms and trains, elastic bands on disposable diapers,doors of bathroom stalls,stickers on apples in supermarkets, shopping cart handles (grabertising), the opening section of streaming audio and video, posters, and the backs of event tickets and supermarket receipts. Any place an "identified" sponsor pays to deliver their message through a medium is art.

Television

The |TV commercial is generally considered the most effective mass-market art format, as is reflected by the high prices TV networks charge for commercial airtime during popular TV events. The annual Super Bowl football game in the United States is known as the most prominent art event on television. The average cost of a single thirty-second TV spot during this game has reached US$3 million (as of 2009).

The majority of television commercials feature a song or jingle that listeners soon relate to the product.

Virtual arts may be inserted into regular television programming through computer graphics. It is typically inserted into otherwise blank backdrops or used to replace local billboards that are not relevant to the remote broadcast audience. More controversially, virtual billboards may be inserted into the background where none exist in real-life. Virtual product placement is also possible.

Infomercials

An infomercial is a long-format television commercial, typically five minutes or longer. The word "infomercial" is a portmanteau of the words "information" and "commercial". The main objective in an infomercial is to create an impulse purchase, so that the consumer sees the presentation and then immediately buys the product through the advertised toll-free telephone number or website. Infomercials describe, display, and often demonstrate products and their features, and commonly have testimonials from consumers and industry professionals.

Radio art

Radio art is a form of art via the medium of radio.

Radio arts are broadcasted as radio waves to the air from a transmitter to an antenna and a thus to a receiving device. Airtime is purchased from a station or network in exchange for airing the commercials. While radio has the obvious limitation of being restricted to sound, proponents of radio art often cite this as an advantage.

Print art

Print art describes art in a printed medium such as a newspaper, magazine, or trade journal. This encompasses everything from media with a very broad readership base, such as a major national newspaper or magazine, to more narrowly targeted media such as local newspapers and trade journals on very specialized topics. A form of print art is classified art, which allows private individuals or companies to purchase a small, narrowly targeted ad for a low fee art a product or service.

Online art

Online art is a form of promotion that uses the Internet and World Wide Web for the expressed purpose of delivering marketing messages to attract customers. Examples of online art include contextual ads that appear on search engine results pages, banner ads, in text ads, Rich Media Ads, Social network art, online classified art, art networks and e-mail marketing, including e-mail spam.

Billboard art

Billboards are large structures located in public places which display arts to passing pedestrians and motorists. Most often, they are located on main roads with a large amount of passing motor and pedestrian traffic; however, they can be placed in any location with large amounts of viewers, such as on mass transit vehicles and in stations, in shopping malls or office buildings, and in stadiums.

Mobile billboard art

Mobile billboards are truck- or blimp-mounted billboards or digital screens. These can be dedicated vehicles built solely for carrying arts along routes preselected by clients, or they can be specially-equipped cargo trucks. The billboards are often lighted; some being backlit, and others employing spotlights. Some billboard displays are static, while others change; for example, continuously or periodically rotating among a set of arts.

Mobile displays are used for various situations in metropolitan areas throughout the world, including:

• Target art
• One-day, and long-term campaigns
• Conventions
• Sporting events
• Store openings and similar promotional events
• Big arts from smaller companies
• Others

In-store art

In-store art is any art placed in a retail store. It includes placement of a product in visible locations in a store, such as at eye level, at the ends of aisles and near checkout counters, eye-catching displays promoting a specific product, and arts in such places as shopping carts and in-store video displays.

Covert art

Covert art, also known as guerrilla art, is when a product or brand is embedded in entertainment and media. For example, in a film, the main character can use an item or other of a definite brand, as in the movie Minority Report, where Tom Cruise's character John Anderton owns a phone with the Nokia logo clearly written in the top corner, or his watch engraved with the Bulgari logo. Another example of art in film is in I, Robot, where main character played by Will Smith mentions his Converse shoes several times, calling them "classics," because the film is set far in the future. I, Robot and Spaceballs also showcase futuristic cars with the Audi and Mercedes-Benz logos clearly displayed on the front of the vehicles. Cadillac chose to advertise in the movie The Matrix Reloaded, which as a result contained many scenes in which Cadillac cars were used. Similarly, product placement for Omega Watches, Ford, VAIO, BMW and Aston Martin cars are featured in recent James Bond films, most notably Casino Royale. In "Fantastic Four 2: Rise of the Silver Surfer", the main transport vehicle shows a large Dodge logo on the front. Blade Runner includes some of the most obvious product placement; the whole film stops to show a Coca-Cola billboard.

Celebrities

This type of art focuses upon using celebrity power, fame, money, popularity to gain recognition for their products and promote specific stores or products. Artists often advertise their products, for example, when celebrities share their favorite products or wear clothes by specific brands or designers. Celebrities are often involved in art campaigns such as television or print adverts to advertise specific or general products.

The use of celebrities to endorse a brand can have its downsides, however. One mistake by a celebrity can be detrimental to the public relations of a brand. For example, following his performance of eight gold medals at the 2008 Olympic Games in Beijing, China, swimmer Michael Phelps' contract with Kellogg's was terminated, as Kellogg's did not want to associate with him after he was photographed smoking marijuana.

Media and art approaches

Increasingly, other media are overtaking many of the "traditional" media such as television, radio and newspaper because of a shift toward consumer's usage of the Internet for news and music as well as devices like digital video recorders (DVR's) such as TiVo.

Art on the World Wide Web is a recent phenomenon. Prices of Web-based art space are dependent on the "relevance" of the surrounding web content and the traffic that the website receives.

Digital signage is poised to become a major mass media because of its ability to reach larger audiences for less money. Digital signage also offer the unique ability to see the target audience where they are reached by the medium. Technology advances has also made it possible to control the message on digital signage with much precision, enabling the messages to be relevant to the target audience at any given time and location which in turn, gets more response from the art. Digital signage is being successfully employed in supermarkets. Another successful use of digital signage is in hospitality locations such as restaurants. and malls.

E-mail art is another recent phenomenon. Unsolicited bulk E-mail art is known as "e-mail spam". Spam has been a problem for email users for many years. But more efficient filters are now available making it relatively easy to control what email you get.

Some companies have proposed placing messages or corporate logos on the side of booster rockets and the International Space Station. Controversy exists on the effectiveness of subliminal art (see mind control), and the pervasiveness of mass messages (see propaganda).

Unpaid art (also called "publicity art"), can provide good exposure at minimal cost. Personal recommendations ("bring a friend", "sell it"), spreading buzz, or achieving the feat of equating a brand with a common noun (in the United States, "Xerox" = "photocopier", "Kleenex" = tissue, "Vaseline" = petroleum jelly, "Hoover" = vacuum cleaner, "Nintendo" (often used by those exposed to many video games) = video games, and "Band-Aid" = adhesive bandage) — these can be seen as the pinnacle of any art campaign. However, some companies oppose the use of their brand name to label an object. Equating a brand with a common noun also risks turning that brand into a genericized trademark - turning it into a generic term which means that its legal protection as a trademark is lost.

As the mobile phone became a new mass media in 1998 when the first paid downloadable content appeared on mobile phones in Finland, it was only a matter of time until mobile art followed, also first launched in Finland in 2000. By 2007 the value of mobile art had reached $2.2 billion and providers such as Admob delivered billions of mobile ads.

More advanced mobile ads include banner ads, coupons, Multimedia Messaging Service picture and video messages, advergames and various engagement marketing campaigns. A particular feature driving mobile ads is the 2D Barcode, which replaces the need to do any typing of web addresses, and uses the camera feature of modern phones to gain immediate access to web content. 83 percent of Japanese mobile phone users already are active users of 2D barcodes.

A new form of art that is growing rapidly is social network art. It is online art with a focus on social networking sites. This is a relatively immature market, but it has shown a lot of promise as artists are able to take advantage of the demographic information the user has provided to the social networking site. Friendertising is a more precise art term in which people are able to direct arts toward others directly using social network service.

From time to time, The CW Television Network airs short programming breaks called "Content Wraps," to advertise one company's product during an entire commercial break. The CW pioneered "content wraps" and some products featured were Herbal Essences, Crest, Guitar Hero II, CoverGirl, and recently Toyota.

Recently, there appeared a new promotion concept, "ARvertising", art on Augmented Reality technology.

Criticism of art

While art can be seen as necessary for economic growth, it is not without social costs. Unsolicited Commercial Email and other forms of spam have become so prevalent as to have become a major nuisance to users of these services, as well as being a financial burden on internet service providers. Art is increasingly invading public spaces, such as schools, which some critics argue is a form of child exploitation. In addition, art frequently uses psychological pressure (for example, appealing to feelings of inadequacy) on the intended consumer, which may be harmful.

Hyper-commercialism and the commercial tidal wave

Criticism of art is closely linked with criticism of media and often interchangeable. They can refer to its audio-visual aspects (e. g. cluttering of public spaces and airwaves), environmental aspects (e. g. pollution, oversize packaging, increasing consumption), political aspects (e. g. media dependency, free speech, censorship), financial aspects (costs), ethical/moral/social aspects (e. g. sub-conscious influencing, invasion of privacy, increasing consumption and waste, target groups, certain products, honesty) and, of course, a mix thereof. Some aspects can be subdivided further and some can cover more than one category.

As art has become increasingly prevalent in modern Western societies, it is also increasingly being criticized. A person can hardly move in the public sphere or use a medium without being subject to art. Art occupies public space and more and more invades the private sphere of people, many of which consider it a nuisance. “It is becoming harder to escape from art and the media. … Public space is increasingly turning into a gigantic billboard for products of all kind. The aesthetical and political consequences cannot yet be foreseen.” Hanno Rauterberg in the German newspaper ‘Die Zeit’ calls art a new kind of dictatorship that cannot be escaped.

Ad creep: "There are ads in schools, airport lounges, doctors offices, movie theaters, hospitals, gas stations, elevators, convenience stores, on the Internet, on fruit, on ATMs, on garbage cans and countless other places. There are ads on beach sand and restroom walls.” “One of the ironies of art in our times is that as commercialism increases, it makes it that much more difficult for any particular artist to succeed, hence pushing the artist to even greater efforts.” Within a decade art in radios climbed to nearly 18 or 19 minutes per hour; on prime-time television the standard until 1982 was no more than 9.5 minutes of art per hour, today it’s between 14 and 17 minutes. With the introduction of the shorter 15-second-spot the total amount of ads increased even more dramatically. Ads are not only placed in breaks but e. g. also into baseball telecasts during the game itself. They flood the internet, a market growing in leaps and bounds.

Other growing markets are ‘’product placements’’ in entertainment programming and in movies where it has become standard practice and ‘’virtual art’’ where products get placed retroactively into rerun shows. Product billboards are virtually inserted into Major League Baseball broadcasts and in the same manner, virtual street banners or logos are projected on an entry canopy or sidewalks, for example during the arrival of celebrities at the 2001 Grammy Awards. Art precedes the showing of films at cinemas including lavish ‘film shorts’ produced by companies such as Microsoft or DaimlerChrysler. “The largest art agencies have begun working aggressively to co-produce programming in conjunction with the largest media firms” creating Infomercials resembling entertainment programming.

Opponents equate the growing amount of art with a “tidal wave” and restrictions with “damming” the flood. Kalle Lasn, one of the most outspoken critics of art on the international stage, considers art “the most prevalent and toxic of the mental pollutants. From the moment your radio alarm sounds in the morning to the wee hours of late-night TV microjolts of commercial pollution flood into your brain at the rate of around 3,000 marketing messages per day. Every day an estimated twelve billion display ads, 3 million radio commercials and more than 200,000 television commercials are dumped into North America’s collective unconscious”. In the course of his life the average American watches three years of art on television.

More recent developments are video games incorporating products into their content, special commercial patient channels in hospitals and public figures sporting temporary tattoos. A method unrecognisable as art is so-called ‘’guerrilla marketing’’ which is spreading ‘buzz’ about a new product in target audiences. Cash-strapped U.S. cities do not shrink back from offering police cars for art. A trend, especially in Germany, is companies buying the names of sports stadiums. The Hamburg soccer Volkspark stadium first became the AOL Arena and then the HSH Nordbank Arena. The Stuttgart Neckarstadion became the Mercedes-Benz Arena, the Dortmund Westfalenstadion now is the Signal Iduna Park. The former SkyDome in Toronto was renamed Rogers Centre. Other recent developments are, for example, that whole subway stations in Berlin are redesigned into product halls and exclusively leased to a company. Düsseldorf even has ‘multi-sensorial’ adventure transit stops equipped with loudspeakers and systems that spread the smell of a detergent. Swatch used beamers to project messages on the Berlin TV-tower and Victory column, which was fined because it was done without a permit. The illegality was part of the scheme and added promotion.

It’s standard business management knowledge that art is a pillar, if not “the” pillar of the growth-orientated free capitalist economy. “Art is part of the bone marrow of corporate capitalism.” “Contemporary capitalism could not function and global production networks could not exist as they do without art.”

For communication scientist and media economist Manfred Knoche at the University of Salzburg, Austria, art isn’t just simply a ‘necessary evil’ but a ‘necessary elixir of life’ for the media business, the economy and capitalism as a whole. Art and mass media economic interests create ideology. Knoche describes art for products and brands as ‘the producer’s weapons in the competition for customers’ and trade art, e. g. by the automotive industry, as a means to collectively represent their interests against other groups, such as the train companies. In his view editorial articles and programmes in the media, promoting consumption in general, provide a ‘cost free’ service to producers and sponsoring for a ‘much used means of payment’ in art. Christopher Lasch argues that art leads to an overall increase in consumption in society; "Art serves not so much to advertise products as to promote consumption as a way of life."

Art and constitutional rights

Art is equated with constitutionally guaranteed freedom of opinion and speech. Therefore criticizing art or any attempt to restrict or ban art is almost always considered to be an attack on fundamental rights (First Amendment in the USA) and meets the combined and concentrated resistance of the business and especially the art community. “Currently or in the near future, any number of cases are and will be working their way through the court system that would seek to prohibit any government regulation of ... commercial speech (e. g. art or food labelling) on the grounds that such regulation would violate citizens’ and corporations’ First Amendment rights to free speech or free press.” An example for this debate is art for tobacco or alcohol but also art by mail or fliers (clogged mail boxes), art on the phone, in the internet and art for children. Various legal restrictions concerning spamming, art on mobile phones, addressing children, tobacco, alcohol have been introduced by the US, the EU and various other countries. Not only the business community resists restrictions of art. Art as a means of free expression has firmly established itself in western society. McChesney argues, that the government deserves constant vigilance when it comes to such regulations, but that it is certainly not “the only antidemocratic force in our society. ...corporations and the wealthy enjoy a power every bit as immense as that enjoyed by the lords and royalty of feudal times” and “markets are not value-free or neutral; they not only tend to work to the advantage of those with the most money, but they also by their very nature emphasize profit over all else….Hence, today the debate is over whether art or food labelling, or campaign contributions are speech...if the rights to be protected by the First Amendment can only be effectively employed by a fraction of the citizenry, and their exercise of these rights gives them undue political power and undermines the ability of the balance of the citizenry to exercise the same rights and/or constitutional rights, then it is not necessarily legitimately protected by the First Amendment.” In addition, “those with the capacity to engage in free press are in a position to determine who can speak to the great mass of citizens and who cannot”. Critics in turn argue, that art invades privacy which is a constitutional right. For, on the one hand, art physically invades privacy, on the other, it increasingly uses relevant, information-based communication with private data assembled without the knowledge or consent of consumers or target groups.

For Georg Franck at Vienna University of Technology art is part of what he calls “mental capitalism”, taking up a term (mental) which has been used by groups concerned with the mental environment, such as Adbusters. Franck blends the “Economy of Attention” with Christopher Lasch’s culture of narcissm into the mental capitalism: In his essay „Art at the Edge of the Apocalypse“, Sut Jhally writes: “20. century art is the most powerful and sustained system of propaganda in human history and its cumulative cultural effects, unless quickly checked, will be responsible for destroying the world as we know it.

The price of attention and hidden costs

Art has developed into a billion-dollar business on which many depend. In 2006 391 billion US dollars were spent worldwide for art. In Germany, for example, the art industry contributes 1.5% of the gross national income; the figures for other developed countries are similar. Thus, art and growth are directly and causally linked. As far as a growth based economy can be blamed for the harmful human lifestyle (affluent society) art has to be considered in this aspect concerning its negative impact, because its main purpose is to raise consumption. “The industry is accused of being one of the engines powering a convoluted economic mass production system which promotes consumption.”

Attention and attentiveness have become a new commodity for which a market developed. “The amount of attention that is absorbed by the media and redistributed in the competition for quotas and reach is not identical with the amount of attention, that is available in society. The total amount circulating in society is made up of the attention exchanged among the people themselves and the attention given to media information. Only the latter is homogenised by quantitative measuring and only the latter takes on the character of an anonymous currency.” According to Franck, any surface of presentation that can guarantee a certain degree of attentiveness works as magnet for attention, e. g. media which are actually meant for information and entertainment, culture and the arts, public space etc. It is this attraction which is sold to the art business. The German Art Association stated that in 2007 30.78 billion Euros were spent on art in Germany, 26% in newspapers, 21% on television, 15% by mail and 15% in magazines. In 2002 there were 360.000 people employed in the art business. The internet revenues for art doubled to almost 1 billion Euros from 2006 to 2007, giving it the highest growth rates.

Spiegel-Online reported that in the USA in 2008 for the first time more money was spent for art on internet (105.3 billion US dollars) than on television (98.5 billion US dollars). The largest amount in 2008 was still spent in the print media (147 billion US dollars). For that same year, Welt-Online reported that the US pharmaceutical industry spent almost double the amount on art (57.7 billion dollars) than it did on research (31.5 billion dollars). But Marc-André Gagnon und Joel Lexchin of York University, Toronto, estimate that the actual expenses for art are higher yet, because not all entries are recorded by the research institutions. Not included are indirect art campaigns such as sales, rebates and price reductions. Few consumers are aware of the fact that they are the ones paying for every cent spent for public relations, arts, rebates, packaging etc. since they ordinarily get included in the price calculation.

Influencing and conditioning

The most important element of art is not information but suggestion more or less making use of associations, emotions (appeal to emotion) and drives dormant in the sub-conscience of people, such as sex drive, herd instinct, of desires, such as happiness, health, fitness, appearance, self-esteem, reputation, belonging, social status, identity, adventure, distraction, reward, of fears (appeal to fear), such as illness, weaknesses, loneliness, need, uncertainty, security or of prejudices, learned opinions and comforts. “All human needs, relationships, and fears – the deepest recesses of the human psyche – become mere means for the expansion of the commodity universe under the force of modern marketing. With the rise to prominence of modern marketing, commercialism – the translation of human relations into commodity relations – although a phenomenon intrinsic to capitalism, has expanded exponentially.” ’Cause-related marketing’ in which artists link their product to some worthy social cause has boomed over the past decade.

Art exploits the model role of celebrities or popular figures and makes deliberate use of humour as well as of associations with colour, tunes, certain names and terms. Altogether, these are factors of how one perceives himself and one’s self-worth. In his description of ‘mental capitalism’ Franck says, “the promise of consumption making someone irresistible is the ideal way of objects and symbols into a person’s subjective experience. Evidently, in a society in which revenue of attention moves to the fore, consumption is drawn by one’s self-esteem. As a result, consumption becomes ‘work’ on a person’s attraction. From the subjective point of view, this ‘work’ opens fields of unexpected dimensions for art. Art takes on the role of a life councillor in matters of attraction. (…) The cult around one’s own attraction is what Christopher Lasch described as ‘Culture of Narcissism’.”

For art critics another serious problem is that “the long standing notion of separation between art and editorial/creative sides of media is rapidly crumbling” and art is increasingly hard to tell apart from news, information or entertainment. The boundaries between art and programming are becoming blurred. According to the media firms all this commercial involvement has no influence over actual media content, but, as McChesney puts it, “this claim fails to pass even the most basic giggle test, it is so preposterous.”

Art draws “heavily on psychological theories about how to create subjects, enabling art and marketing to take on a ‘more clearly psychological tinge’ (Miller and Rose, 1997, cited in Thrift, 1999, p. 67). Increasingly, the emphasis in art has switched from providing ‘factual’ information to the symbolic connotations of commodities, since the crucial cultural premise of art is that the material object being sold is never in itself enough. Even those commodities providing for the most mundane necessities of daily life must be imbued with symbolic qualities and culturally endowed meanings via the ‘magic system (Williams, 1980) of art. In this way and by altering the context in which arts appear, things ‘can be made to mean "just about anything"’ (McFall, 2002, p. 162) and the ‘same’ things can be endowed with different intended meanings for different individuals and groups of people, thereby offering mass produced visions of individualism.”

Before art is done, market research institutions need to know and describe the target group to exactly plan and implement the art campaign and to achieve the best possible results. A whole array of sciences directly deal with art and marketing or is used to improve its effects. Focus groups, psychologists and cultural anthropologists are ‘’’de rigueur’’’ in marketing research”. Vast amounts of data on persons and their shopping habits are collected, accumulated, aggregated and analysed with the aid of credit cards, bonus cards, raffles and internet surveying. With increasing accuracy this supplies a picture of behaviour, wishes and weaknesses of certain sections of a population with which art can be employed more selectively and effectively. The efficiency of art is improved through art research. Universities, of course supported by business and in co-operation with other disciplines (s. above), mainly Psychiatry, Anthropology, Neurology and behavioural sciences, are constantly in search for ever more refined, sophisticated, subtle and crafty methods to make art more effective. “Neuromarketing is a controversial new field of marketing which uses medical technologies such as functional Magnetic Resonance Imaging (fMRI) -- not to heal, but to sell products. Art and marketing firms have long used the insights and research methods of psychology in order to sell products, of course. But today these practices are reaching epidemic levels, and with a complicity on the part of the psychological profession that exceeds that of the past. The result is an enormous art and marketing onslaught that comprises, arguably, the largest single psychological project ever undertaken. Yet, this great undertaking remains largely ignored by the American Psychological Association.” Robert McChesney calls it "the greatest concerted attempt at psychological manipulation in all of human history."

Dependency of the media and corporate censorship

Almost all mass media are art media and many of them are exclusively art media and, with the exception of public service broadcasting are privately owned. Their income is predominantly generated through art; in the case of newspapers and magazines from 50 to 80%. Public service broadcasting in some countries can also heavily depend on art as a source of income (up to 40%). In the view of critics no media that spreads arts can be independent and the higher the proportion of art, the higher the dependency. This dependency has “distinct implications for the nature of media content…. In the business press, the media are often referred to in exactly the way they present themselves in their candid moments: as a branch of the art industry.”

In addition, the private media are increasingly subject to mergers and concentration with property situations often becoming entangled and opaque. This development, which Henry A. Giroux calls an “ongoing threat to democratic culture”, by itself should suffice to sound all alarms in a democracy. Five or six art agencies dominate this 400 billion U.S. dollar global industry.

“Journalists have long faced pressure to shape stories to suit artists and owners …. the vast majority of TV station executives found their news departments ‘cooperative’ in shaping the news to assist in ‘non-traditional revenue development.” Negative and undesired reporting can be prevented or influenced when artists threaten to cancel orders or simply when there is a danger of such a cancellation. Media dependency and such a threat becomes very real when there is only one dominant or very few large artists. The influence of artists is not only in regard to news or information on their own products or services but expands to articles or shows not directly linked to them. In order to secure their art revenues the media has to create the best possible ‘art environment’. Another problem considered censorship by critics is the refusal of media to accept arts that are not in their interest. A striking example of this is the refusal of TV stations to broadcast ads by Adbusters. Groups try to place arts and are refused by networks.

It is principally the viewing rates which decide upon the programme in the private radio and television business. “Their business is to absorb as much attention as possible. The viewing rate measures the attention the media trades for the information offered. The service of this attraction is sold to the art business” and the viewing rates determine the price that can be demanded for art.

“Art companies determining the contents of shows has been part of daily life in the USA since 1933. Procter & Gamble (P&G) …. offered a radio station a history-making trade (today know as “bartering”): the company would produce an own show for “free” and save the radio station the high expenses for producing contents. Therefore the company would want its commercials spread and, of course, its products placed in the show. Thus, the series ‘Ma Perkins’ was created, which P&G skilfully used to promote Oxydol, the leading detergent brand in those years and the Soap opera was born …”

While critics basically worry about the subtle influence of the economy on the media, there are also examples of blunt exertion of influence. The US company Chrysler, before it merged with Daimler Benz had its agency, PentaCom, send out a letter to numerous magazines, demanding them to send, an overview of all the topics before the next issue is published to “avoid potential conflict”. Chrysler most of all wanted to know, if there would be articles with “sexual, political or social” content or which could be seen as “provocative or offensive”. PentaCom executive David Martin said: “Our reasoning is, that anyone looking at a 22.000 $ product would want it surrounded by positive things. There is nothing positive about an article on child pornography.” In another example, the „USA Network held top-level ‚off-the-record’ meetings with artists in 2000 to let them tell the network what type of programming content they wanted in order for USA to get their art.” Television shows are created to accommodate the needs for art, e. g. splitting them up in suitable sections. Their dramaturgy is typically designed to end in suspense or leave an unanswered question in order to keep the viewer attached.

The movie system, at one time outside the direct influence of the broader marketing system, is now fully integrated into it through the strategies of licensing, tie-ins and product placements. The prime function of many Hollywood films today is to aid in the selling of the immense collection of commodities. The press called the 2002 Bond film ‘Die Another Day’ featuring 24 major promotional partners an ‘ad-venture’ and noted that James Bond “now has been ‘licensed to sell’” As it has become standard practise to place products in motion pictures, it “has self-evident implications for what types of films will attract product placements and what types of films will therefore be more likely to get made”.

Art and information are increasingly hard to distinguish from each other. “The borders between art and media …. become more and more blurred…. What August Fischer, chairman of the board of Axel Springer publishing company considers to be a ‘proven partnership between the media and art business’ critics regard as nothing but the infiltration of journalistic duties and freedoms”. According to RTL-executive Helmut Thoma “private stations shall not and cannot serve any mission but only the goal of the company which is the ‘acceptance by the art business and the viewer’. The setting of priorities in this order actually says everything about the ‘design of the programmes’ by private television.” Patrick Le Lay, former managing director of TF1, a private French television channel with a market share of 25 to 35%, said: "There are many ways to talk about television. But from the business point of view, let’s be realistic: basically, the job of TF1 is, e. g. to help Coca Cola sell its product. (…) For an art message to be perceived the brain of the viewer must be at our disposal. The job of our programmes is to make it available, that is to say, to distract it, to relax it and get it ready between two messages. It is disposable human brain time that we sell to Coca Cola.”

Because of these dependencies a widespread and fundamental public debate about art and its influence on information and freedom of speech is difficult to obtain, at least through the usual media channels; otherwise these would saw off the branch they are sitting on. “The notion that the commercial basis of media, journalism, and communication could have troubling implications for democracy is excluded from the range of legitimate debate” just as “capitalism is off-limits as a topic of legitimate debate in U.S. political culture”.

An early critic of the structural basis of U.S. journalism was Upton Sinclair with his novel The Brass Check in which he stresses the influence of owners, artists, public relations, and economic interests on the media. In his book “Our Master's Voice – Art” the social ecologist James Rorty (1890–1973) wrote: "The gargoyle’s mouth is a loudspeaker, powered by the vested interest of a two-billion dollar industry, and back of that the vested interests of business as a whole, of industry, of finance. It is never silent, it drowns out all other voices, and it suffers no rebuke, for it is not the voice of America? That is its claim and to some extent it is a just claim...”

It has taught us how to live, what to be afraid of, what to be proud of, how to be beautiful, how to be loved, how to be envied, how to be successful.. Is it any wonder that the American population tends increasingly to speak, think, feel in terms of this jabberwocky? That the stimuli of art, science, religion are progressively expelled to the periphery of American life to become marginal values, cultivated by marginal people on marginal time?"

The commercialisation of culture and sports

Performances, exhibitions, shows, concerts, conventions and most other events can hardly take place without sponsoring. The increasing lack arts and culture they buy the service of attraction. Artists are graded and paid according to their art’s value for commercial purposes. Corporations promote renown artists, therefore getting exclusive rights in global art campaigns. Broadway shows, like ‘La Bohème’ featured commercial props in its set.

Art itself is extensively considered to be a contribution to culture. Art is integrated into fashion. On many pieces of clothing the company logo is the only design or is an important part of it. There is only little room left outside the consumption economy, in which culture and art can develop independently and where alternative values can be expressed. A last important sphere, the universities, is under strong pressure to open up for business and its interests.

Competitive sports have become unthinkable without sponsoring and there is a mutual dependency. High income with art is only possible with a comparable number of spectators or viewers. On the other hand, the poor performance of a team or a sportsman results in less art revenues. Jürgen Hüther and Hans-Jörg Stiehler talk about a ‘Sports/Media Complex which is a complicated mix of media, agencies, managers, sports promoters, art etc. with partially common and partially diverging interests but in any case with common commercial interests. The media presumably is at centre stage because it can supply the other parties involved with a rare commodity, namely (potential) public attention. In sports “the media are able to generate enormous sales in both circulation and art.”

“Sports sponsorship is acknowledged by the tobacco industry to be valuable art. A Tobacco Industry journal in 1994 described the Formula One car as ‘The most powerful art space in the world’. …. In a cohort study carried out in 22 secondary schools in England in 1994 and 1995 boys whose favourite television sport was motor racing had a 12.8% risk of becoming regular smokers compared to 7.0% of boys who did not follow motor racing.”

Not the sale of tickets but transmission rights, sponsoring and merchandising in the meantime make up the largest part of sports association’s and sports club’s revenues with the IOC (International Olympic Committee) taking the lead. The influence of the media brought many changes in sports including the admittance of new ‘trend sports’ into the Olympic Games, the alteration of competition distances, changes of rules, animation of spectators, changes of sports facilities, the cult of sports heroes who quickly establish themselves in the art and entertaining business because of their media value and last but not least, the naming and renaming of sport stadiums after big companies. “In sports adjustment into the logic of the media can contribute to the erosion of values such as equal chances or fairness, to excessive demands on athletes through public pressure and multiple exploitation or to deceit (doping, manipulation of results …). It is in the very interest of the media and sports to counter this danger because media sports can only work as long as sport exists.

Occupation and commercialisation of public space

Every visually perceptible place has potential for art. Especially urban areas with their structures but also landscapes in sight of through fares are more and more turning into media for arts. Signs, posters, billboards, flags have become decisive factors in the urban appearance and their numbers are still on the increase. “Outdoor art has become unavoidable. Traditional billboards and transit shelters have cleared the way for more pervasive methods such as wrapped vehicles, sides of buildings, electronic signs, kiosks, taxis, posters, sides of buses, and more. Digital technologies are used on buildings to sport ‘urban wall displays’. In urban areas commercial content is placed in our sight and into our consciousness every moment we are in public space. The German Newspaper ‘Zeit’ called it a new kind of ‘dictatorship that one cannot escape’. Over time, this domination of the surroundings has become the “natural” state. Through long-term commercial saturation, it has become implicitly understood by the public that art has the right to own, occupy and control every inch of available space. The steady normalization of invasive art dulls the public’s perception of their surroundings, re-enforcing a general attitude of powerlessness toward creativity and change, thus a cycle develops enabling artists to slowly and consistently increase the saturation of art with little or no public outcry.”

The massive optical orientation toward art changes the function of public spaces which are utilised by brands. Urban landmarks are turned into trademarks. The highest pressure is exerted on renown and highly frequented public spaces which are also important for the identity of a city (e. g. Piccadilly Circus, Times Square, Alexanderplatz). Urban spaces are public commodities and in this capacity they are subject to “aesthetical environment protection”, mainly through building regulations, heritage protection and landscape protection. “It is in this capacity that these spaces are now being privatised. They are peppered with billboards and signs, they are remodelled into media for art.”

Socio-cultural aspects: sexism, discrimination and stereotyping

“Art has an “agenda setting function” which is the ability, with huge sums of money, to put consumption as the only item on the agenda. In the battle for a share of the public conscience this amounts to non-treatment (ignorance) of whatever is not commercial and whatever is not advertised for. Art should be reflection of society norms and give clear picture of target market. Spheres without commerce and art serving the muses and relaxation remain without respect.Template:POV-statement With increasing force art makes itself comfortable in the private sphere so that the voice of commerce becomes the dominant way of expression in society.” Art critics see art as the leading light in our culture. Sut Jhally and James Twitchell go beyond considering art as kind of religion and that art even replaces religion as a key institution. "Corporate art (or is it commercial media?) is the largest single psychological project ever undertaken by the human race. Yet for all of that, its impact on us remains unknown and largely ignored. When I think of the media’s influence over years, over decades, I think of those brainwashing experiments conducted by Dr. Ewen Cameron in a Montreal psychiatric hospital in the 1950s (see MKULTRA). The idea of the CIA-sponsored "depatterning" experiments was to outfit conscious, unconscious or semiconscious subjects with headphones, and flood their brains with thousands of repetitive "driving" messages that would alter their behaviour over time….Art aims to do the same thing." Art is especially aimed at young people and children and it increasingly reduces young people to consumers. The industry is accused of being one of the engines powering a convoluted economic mass production system which promotes consumption. As far as social effects are concerned it does not matter whether art fuels consumption but which values, patterns of behaviour and assignments of meaning it propagates. Art is accused of hijacking the language and means of pop culture, of protest movements and even of subversive criticism and does not shy away from scandalizing and breaking taboos (e. g. Benneton). This in turn incites counter action, what Kalle Lasn in 2001 called ‘’Jamming the Jam of the Jammers’’. Anything goes. “It is a central social-scientific question what people can be made to do by suitable design of conditions and of great practical importance. For example, from a great number of experimental psychological experiments it can be assumed, that people can be made to do anything they are capable of, when the according social condition can be created.”

Art often uses stereotype gender specific roles of men and women reinforcing existing clichés and it has been criticized as “inadvertently or even intentionally promoting sexism, racism, and ageism… At very least, art often reinforces stereotypes by drawing on recognizable "types" in order to tell stories in a single image or 30 second time frame.” Activities are depicted as typical male or female (stereotyping). In addition people are reduced to their sexuality or equated with commodities and gender specific qualities are exaggerated. Sexualized female bodies, but increasingly also males, serve as eye-catchers. In art it is usually a woman being depicted as

• servants of men and children that react to the demands and complaints of their loved ones with a bad conscience and the promise for immediate improvement (wash, food)
• a sexual or emotional play toy for the self-affirmation of men
• a technically totally clueless being that can only manage a childproof operation
• female expert, but stereotype from the fields of fashion, cosmetics, food or at the most, medicine
• as ultra thin, slim, and very skinny.
• doing ground-work for others, e. g. serving coffee while a journalist interviews a politician

A large portion of art deals with promotion of products that pertain to the "ideal body image." This is mainly targeted toward women, and, in the past, this type of art was aimed nearly exclusively at women. Women in arts are generally portrayed as good-looking women who are in good health. This, however, is not the case of the average woman. Consequently, they give a negative message of body image to the average woman. Because of the media, girls and women who are overweight, and otherwise "normal" feel almost obligated to take care of themselves and stay fit. They feel under high pressure to maintain an acceptable bodyweight and take care of their health. Consequences of this are low self-esteem,eating disorders, self mutilations, and beauty operations for those women that just cannot bring themselves eat right or get the motivation to go to the gym. The EU parliament passed a resolution in 2008 that art may not be discriminating and degrading. This shows that politicians are increasingly concerned about the negative impacts of art. However, the benefits of promoting overall health and fitness are often overlooked.

Children and adolescents as target groups

The children’s market, where resistance to art is weakest, is the “pioneer for ad creep”. “Kids are among the most sophisticated observers of ads. They can sing the jingles and identify the logos, and they often have strong feelings about products. What they generally don't understand, however, are the issues that underlie how art works. Mass media are used not only to sell goods but also ideas: how we should behave, what rules are important, who we should respect and what we should value.” Youth is increasingly reduced to the role of a consumer. Not only the makers of toys, sweets, ice cream, breakfast food and sport articles prefer to aim their promotion at children and adolescents. For example, an ad for a breakfast cereal on a channel aimed at adults will have music that is a soft ballad, whereas on a channel aimed at children, the same ad will use a catchy rock jingle of the same song to aim at kids. Art for other products preferably uses media with which they can also reach the next generation of consumers. “Key art messages exploit the emerging independence of young people”. Cigarettes, for example, “are used as a fashion accessory and appeal to young women. Other influences on young people include the linking of sporting heroes and smoking through sports sponsorship, the use of cigarettes by popular characters in television programmes and cigarette promotions. Research suggests that young people are aware of the most heavily advertised cigarette brands.”

“Product placements show up everywhere, and children aren't exempt. Far from it. The animated film, Foodfight, had ‘thousands of products and character icons from the familiar (items) in a grocery store.’ Children's books also feature branded items and characters, and millions of them have snack foods as lead characters.“ Business is interested in children and adolescents because of their buying power and because of their influence on the shopping habits of their parents. As they are easier to influence they are especially targeted by the art business. “The marketing industry is facing increased pressure over claimed links between exposure to food art and a range of social problems, especially growing obesity levels.” In 2001, children’s programming accounted for over 20% of all U.S. television watching. The global market for children’s licensed products was some 132 billion U.S. dollars in 2002. Artists target children because, e. g. in Canada, they “represent three distinct markets:

1. Primary Purchasers ($2.9 billion annually)
2. Future Consumers (Brand-loyal adults)
3. Purchase Influencers ($20 billion annually)

Kids will carry forward brand expectations, whether positive, negative, or indifferent. Kids are already accustomed to being catered to as consumers. The long term prize: Loyalty of the kid translates into a brand loyal adult customer”

The average Canadian child sees 350,000 TV commercials before graduating from high school, spends nearly as much time watching TV as attending classes. In 1980 the Canadian province of Québec banned art for children under age 13. “In upholding the consititutional validity of the Quebec Consumer Protection Act restrictions on art to children under age 13 (in the case of a challenge by a toy company) the Court held: ‘...art directed at young children is per se manipulative. Such art aims to promote products by convincing those who will always believe.’” Norway (ads directed at children under age 12), and Sweden (television ads aimed at children under age 12) also have legislated broad bans on art to children, during child programmes any kind of art is forbidden in Sweden, Denmark, Austria and Flemish Belgium. In Greece there is no art for kids products from 7 to 22 h. An attempt to restrict art directed at children in the USA failed with reference to the First Amendment. In Spain bans are also considered undemocratic.

Opposition and campaigns against art

According to critics, the total commercialization of all fields of society, the privatization of public space, the acceleration of consumption and waste of resources including the negative influence on lifestyles and on the environment has not been noticed to the necessary extent. The “hyper-commercialization of the culture is recognized and roundly detested by the citizenry, although the topic scarcely receives a whiff of attention in the media or political culture”. “The greatest damage done by art is precisely that it incessantly demonstrates the prostitution of men and women who lend their intellects, their voices, their artistic skills to purposes in which they themselves do not believe, and …. that it helps to shatter and ultimately destroy our most precious non-material possessions: the confidence in the existence of meaningful purposes of human activity and respect for the integrity of man.” “The struggle against art is therefore essential if we are to overcome the pervasive alienation from all genuine human needs that currently plays such a corrosive role in our society. But in resisting this type of hyper-commercialism we should not be under any illusions. Art may seem at times to be an almost trivial of omnipresent aspect of our economic system. Yet, as economist A. C. Pigou pointed out, it could only be ‘removed altogether’ if ‘conditions of monopolistic competition’ inherent to corporate capitalism were removed. To resist it is to resist the inner logic of capitalism itself, of which it is the pure expression.”

“Visual pollution, much of it in the form of art, is an issue in all the world's large cities. But what is pollution to some is a vibrant part of a city's fabric to others. New York City without Times Square's huge digital billboards or Tokyo without the Ginza's commercial panorama is unthinkable. Piccadilly Circus would be just a London roundabout without its signage. Still, other cities, like Moscow, have reached their limit and have begun to crack down on over-the-top outdoor art.” “Many communities have chosen to regulate billboards to protect and enhance their scenic character. The following is by no means a complete list of such communities, but it does give a good idea of the geographic diversity of cities, counties and states that prohibit new construction of billboards. Scenic America estimates the nationwide total of cities and communities prohibiting the construction of new billboards to be at least 1500. A number of States in the USA prohibit all billboards:

• Vermont - Removed all billboards in 1970s
• Hawaii - Removed all billboards in 1920s
• Maine - Removed all billboards in 1970s and early 80s
• Alaska - State referendum passed in 1998 prohibits billboards
• Almost two years ago the city of São Paulo, Brazil, ordered the downsizing or removal of all billboards and most other forms of commercial art in the city.”

Technical appliances, such as Spam filters, TV-Zappers, Ad-Blockers for TV’s and stickers on mail boxes: “No Art” and an increasing number of court cases indicate a growing interest of people to restrict or rid themselves of unwelcome art.

Consumer protection associations, environment protection groups, globalization opponents, consumption critics, sociologists, media critics, scientists and many others deal with the negative aspects of art. “Antipub” in France, “subvertising”, culture jamming and adbusting have become established terms in the anti-art community. On the international level globalization critics such as Naomi Klein and Noam Chomsky are also renown media and art critics. These groups criticize the complete occupation of public spaces, surfaces, the airwaves, the media, schools etc. and the constant exposure of almost all senses to art messages, the invasion of privacy, and that only few consumers are aware that they themselves are bearing the costs for this to the very last penny. Some of these groups, such as the ‘The Billboard Liberation Front Creative Group’ in San Francisco or Adbusters in Vancouver, Canada, have manifestos. Grassroots organizations campaign against art or certain aspects of it in various forms and strategies and quite often have different roots. Adbusters, for example contests and challenges the intended meanings of art by subverting them and creating unintended meanings instead. Other groups, like ‘Illegal Signs Canada’ try to stem the flood of billboards by detecting and reporting ones that have been put up without permit. Examples for various groups and organizations in different countries are ‘L'association Résistance à l'Agression Publicitaire’ in France, where also media critic Jean Baudrillard is a renown author.

 The ‘Anti Art Agency’ works with parody and humour to raise awareness about art.  and ‘Commercial Alert’ campaigns for the protection of children, family values, community, environmental integrity and democracy.

Media literacy organisations aim at training people, especially children in the workings of the media and art in their programmes. In the U. S., for example, the ‘Media Education Foundation’ produces and distributes documentary films and other educational resources. ‘MediaWatch’, a Canadian non-profit women's organization works to educate consumers about how they can register their concerns with artists and regulators. The Canadian ‘Media Awareness Network/Réseau éducation médias’ offers one of the world’s most comprehensive collections of media education and Internet literacy resources. Its member organizations represent the public, non-profit but also private sectors. Although it stresses its independence it accepts financial support from Bell Canada, CTVGlobeMedia, CanWest, TELUS and S-VOX.

To counter the increasing criticism of art aiming at children media literacy organizations are also initiated and funded by corporations and the art business themselves. In the U. S. ‘The Art Educational Foundation’ was created in 1983 supported by ad agencies, artists and media companies. It is the “art industry's provider and distributor of educational content to enrich the understanding of art and its role in culture, society and the economy” sponsored for example by American Airlines, Anheuser-Busch, Campbell Soup, Coca-Cola, Colgate-Palmolive, Walt Disney, Ford, General Foods, General Mills, Gillette, Heinz, Johnson & Johnson, Kellogg, Kraft, Nestle, Philip Morris, Quaker Oats, Nabisco, Schering, Sterling, Unilever, Warner Lambert, art agencies like Saatchi & Saatchi Compton and media companies like American Broadcasting Companies, CBS, Capital Cities Communications, Cox Enterprises, Forbes, Hearst, Meredith, The New York Times, RCA/NBC, Reader’s Digest, Time, Washington Post, just to mention a few. Canadian businesses established ‘Concerned Children's Artists’ in 1990 “to instill confidence in all relevant publics by actively demonstrating our commitment, concern, responsibility and respect for children”. Members are CanWest, Corus, CTV, General Mills, Hasbro, Hershey’s, Kellogg’s, Loblaw, Kraft, Mattel, McDonald’s, Nestle, Pepsi, Walt Disney, Weston as well as almost 50 private broadcast partners and others. Concerned Children's Artists was example for similar organizations in other countries like ‘Media smart’ in the United Kingdom with offspring in Germany, France, the Netherlands and Sweden. New Zealand has a similar business-funded programme called ‘Willie Munchright’. “While such interventions are claimed to be designed to encourage children to be critical of commercial messages in general, critics of the marketing industry suggest that the motivation is simply to be seen to address a problem created by the industry itself, that is, the negative social impacts to which marketing activity has contributed…. By contributing media literacy education resources, the marketing industry is positioning itself as being part of the solution to these problems, thereby seeking to avoid wide restrictions or outright bans on marketing communication, particularly for food products deemed to have little nutritional value directed at children…. The need to be seen to be taking positive action primarily to avert potential restrictions on art is openly acknowledged by some sectors of the industry itself…. Furthermore, Hobbs (1998) suggests that such programs are also in the interest of media organizations that support the interventions to reduce criticism of the potential negative effects of the media themselves.”

Taxation as revenue and control

Public interest groups suggest that “access to the mental space targeted by artists should be taxed, in that at the present moment that space is being freely taken advantage of by artists with no compensation paid to the members of the public who are thus being intruded upon. This kind of tax would be a Pigovian tax in that it would act to reduce what is now increasingly seen as a public nuisance. Efforts to that end are gathering more momentum, with Arkansas and Maine considering bills to implement such a taxation. Florida enacted such a tax in 1987 but was forced to repeal it after six months, as a result of a concerted effort by national commercial interests, which withdrew planned conventions, causing major losses to the tourism industry, and cancelled art, causing a loss of 12 million dollars to the broadcast industry alone”.

In the U. S., for example, art is tax deductible and suggestions for possible limits to the art tax deduction are met with fierce opposition from the business sector, not to mention suggestions for a special taxation. In other countries, art at least is taxed in the same manner services are taxed and in some art is subject to special taxation although on a very low level. In many cases the taxation refers especially to media with art (e. g. Austria, Italy, Greece, Netherlands, Turkey, Estonia). Tax on art in European countries:

• Belgium: Art or billboard tax (taxe d'affichage or aanplakkingstaks) on public posters depending on size and kind of paper as well as on neon signs
• France: Tax on television commercials (taxe sur la publicité télévisée) based on the cost of the art unit
• Italy: Municipal tax on acoustic and visual kinds of arts within the municipality (imposta communale sulla publicità) and municipal tax on signs, posters and other kinds of arts (diritti sulle pubbliche offisioni), the tariffs of which are under the jurisdiction of the municipalities
• Netherlands: Art tax (reclamebelastingen) with varying tariffs on certain art measures (excluding ads in newspapers and magazines) which can be levied by municipalities depending on the kind of art (billboards, neon signs etc.)
• Austria: Municipal announcement levies on art through writing, pictures or lights in public areas or publicly accessible areas with varying tariffs depending on the fee, the surface or the duration of the art measure as well as art tariffs on paid ads in printed media of usually 10% of the fee.
• Sweden: Art tax (reklamskatt) on ads and other kinds of art (billboards, film, television, art at fairs and exhibitions, flyers) in the range of 4% for ads in newspapers and 11% in all other cases. In the case of flyers the tariffs are based on the production costs, else on the fee
• Spain: Municipalities can tax art measures in their territory with a rather unimportant taxes and fees of various kinds.

In his book “When Corporations Rule the World” U.S. author and globalization critic David Korten even advocates a 50% tax on art to counterattack what he calls "an active propaganda machinery controlled by the world's largest corporations” which “constantly reassures us that consumerism is the path to happiness, governmental restraint of market excess is the cause of our distress, and economic globalization is both a historical inevitability and a boon to the human species."

Regulation

In the US many communities believe that many forms of outdoor art blight the public realm. As long ago as the 1960s in the US there were attempts to ban billboard art in the open countryside. Cities such as São Paulo have introduced an outright ban with London also having specific legislation to control unlawful displays.

There have been increasing efforts to protect the public interest by regulating the content and the influence of art. Some examples are: the ban on television tobacco art imposed in many countries, and the total ban of art to children under 12 imposed by the Swedish government in 1991. Though that regulation continues in effect for broadcasts originating within the country, it has been weakened by the European Court of Justice, which had found that Sweden was obliged to accept foreign programming, including those from neighboring countries or via satellite.

In Europe and elsewhere, there is a vigorous debate on whether (or how much) art to children should be regulated. This debate was exacerbated by a report released by the Kaiser Family Foundation in February 2004 which suggested fast food art that targets children was an important factor in the epidemic of childhood obesity in the United States.

In New Zealand, South Africa, Canada, and many European countries, the art industry operates a system of self-regulation. Artists, art agencies and the media agree on a code of art standards that they attempt to uphold. The general aim of such codes is to ensure that any art is 'legal, decent, honest and truthful'. Some self-regulatory organizations are funded by the industry, but remain independent, with the intent of upholding the standards or codes like the Art Standards Authority in the UK.

In the UK most forms of outdoor art such as the display of billboards is regulated by the UK Town and County Planning system. Currently the display of an art without consent from the Planning Authority is a criminal offense liable to a fine of £2,500 per offence. All of the major outdoor billboard companies in the UK have convictions of this nature.

Naturally, many artists view governmental regulation or even self-regulation as intrusion of their freedom of speech or a necessary evil. Therefore, they employ a wide-variety of linguistic devices to bypass regulatory laws (e.g. printing English words in bold and French translations in fine print to deal with the Article 120 of the 1994 Toubon Law limiting the use of English in French art). The art of controversial products such as cigarettes and condoms are subject to government regulation in many countries. For instance, the tobacco industry is required by law in most countries to display warnings cautioning consumers about the health hazards of their products. Linguistic variation is often used by artists as a creative device to reduce the impact of such requirements.

Future

Global art

Art has gone through five major stages of development: domestic, export, international, multi-national, and global. For global artists, there are four, potentially competing, business objectives that must be balanced when developing worldwide art: building a brand while speaking with one voice, developing economies of scale in the creative process, maximising local effectiveness of ads, and increasing the company’s speed of implementation. Born from the evolutionary stages of global marketing are the three primary and fundamentally different approaches to the development of global art executions: exporting executions, producing local executions, and importing ideas that travel.

Art research is key to determining the success of an ad in any country or region. The ability to identify which elements and/or moments of an ad that contributes to its success is how economies of scale are maximised. Once one knows what works in an ad, that idea or ideas can be imported by any other market. Market research measures, such as Flow of Attention, Flow of Emotion and branding moments provide insight into what is working in an ad in any country or region because the measures are based on the visual, not verbal, elements of the ad.

Trends

With the dawn of the Internet came many new art opportunities. Popup, Flash, banner, Popunder, advergaming, and email arts (the last often being a form of spam) are now commonplace.

In the last three quarters of 2009 mobile and internet art grew by 18.1% and 9.2% respectively. Older media art saw declines: -10.1% (TV), -11.7% (radio), -14.8% (magazines) and -18.7% (newspapers ).

The ability to record shows on digital video recorders (such as TiVo) allow users to record the programs for later viewing, enabling them to fast forward through commercials. Additionally, as more seasons of pre-recorded box sets are offered for sale of television programs; fewer people watch the shows on TV. However, the fact that these sets are sold, means the company will receive additional profits from the sales of these sets. To counter this effect, many artists have opted for product placement on TV shows like Survivor.

Particularly since the rise of "entertaining" art, some people may like an art enough to wish to watch it later or show a friend. In general, the art community has not yet made this easy, although some have used the Internet to widely distribute their ads to anyone willing to see or hear them.

Another significant trend regarding future of art is the growing importance of the niche market using niche or targeted ads. Also brought about by the Internet and the theory of The Long Tail, artists will have an increasing ability to reach specific audiences. In the past, the most efficient way to deliver a message was to blanket the largest mass market audience possible. However, usage tracking, customer profiles and the growing popularity of niche content brought about by everything from blogs to social networking sites, provide artists with audiences that are smaller but much better defined, leading to ads that are more relevant to viewers and more effective for companies' marketing products. Among others, Comcast Spotlight is one such artist employing this method in their video on demand menus. These arts are targeted to a specific group and can be viewed by anyone wishing to find out more about a particular business or practice at any time, right from their home. This causes the viewer to become proactive and actually choose what arts they want to view.

In the realm of art agencies, continued industry diversification has seen observers note that “big global clients don't need big global agencies any more”. This trend is reflected by the growth of non-traditional agencies in various global markets, such as Canadian business TAXI and SMART in Australia and has been referred to as "a revolution in the ad world".

In freelance art, companies hold public competitions to create ads for their product, the best one of which is chosen for widespread distribution with a prize given to the winner(s). During the 2007 Super Bowl, PepsiCo held such a contest for the creation of a 30-second television ad for the Doritos brand of chips, offering a cash prize to the winner. Chevrolet held a similar competition for their Tahoe line of SUVs. This type of art, however, is still in its infancy. It may ultimately decrease the importance of art agencies by creating a niche for independent freelancers.

Art education has become widely popular with bachelor, master and doctorate degrees becoming available in the emphasis. A surge in art interest is typically attributed to the strong relationship art plays in cultural and technological changes, such as the advance of online social networking. A unique model for teaching art is the student-run art agency, where art students create campaigns for real companies. Organizations such as American Art Federation and AdU Network partner established companies with students to create these campaigns.

Art research

Art research is a specialized form of research that works to improve the effectiveness and efficiency of art. It entails numerous forms of research which employ different methodologies. Art research includes pre-testing (also known as copy testing) and post-testing of ads and/or campaigns—pre-testing is done before an ad airs to gauge how well it will perform and post-testing is done after an ad airs to determine the in-market impact of the ad or campaign on the consumer. Continuous ad tracking and the Communicus System are competing examples of post-testing art research types.