There are lots of forces today which aim to deny all distinction between the commercial and the creative. The more this distinction is denied, the more amusing, understanding and well-informed people think they are. In fact, they are only translating capitalism’s demand for rapid rotation. […]
When advertising people explain that advertisements are the poetry of the modern world, this shameless proposition forgets that there is no art which aims to compose or reveal a product which corresponds to public expectations. Advertising can shock or want to shock, it corresponds to a presupposed expectation. An art, on the contrary, necessarily produces the unexpected, the unrecognized, the unrecognizable. There is no commercial art; it’s a meaningless phrase. There are popular arts, of course. There are also arts which require more or less financial investment, there is a commerce of arts but no commercial arts.
— Gilles Deleuze, The Brain Is the Screen (1989)
When advertising people explain that advertisements are the poetry of the modern world, this shameless proposition forgets that there is no art which aims to compose or reveal a product which corresponds to public expectations. Advertising can shock or want to shock, it corresponds to a presupposed expectation. An art, on the contrary, necessarily produces the unexpected, the unrecognized, the unrecognizable. There is no commercial art; it’s a meaningless phrase. There are popular arts, of course. There are also arts which require more or less financial investment, there is a commerce of arts but no commercial arts.
— Gilles Deleuze, The Brain Is the Screen (1989)
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Ballet Mécanique (1924) by Fernand Léger and Dudley Murphy
Stephanie Ludwig ~ Atelier Veritas / Kätzchen [Kitten], 1901. Photogravure.
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