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Which clippings match 'Critical Cultural Hijacking' keyword pg.1 of 1
29 OCTOBER 2017

Michael Glassco: Contested images: the politics and poetics of appropriation

"The dissertation traces the tactics of appropriation of Barbara Kruger, The Billboard Liberation Front and Shepard Fairey as exemplars of transgression and commodification within the changing commercial conditions of neo-liberalism. Their works, tactics and strategies are emphasized as points of insight into the practices and conditions of subversion as well as the limits of hegemonic containment that reproduces the political and economic structure within which they operated. The dissertation furthers and contributes to the theoretical and methodology of critical cultural studies as it emphasizes the role of the economy and ideology in reproducing the prevailing hegemonic order. Critical cultural studies hinges on the concepts of hegemony as lived discursive and ideological struggles over meaning and communication resources within historically specific and socially structured contexts. This framework emphasizes the poetics of appropriation - the use, meaning and spaces of articulation of visual representations with the politics - the socio-economic and discursive conditions that reproduce the dominant social order."

(Michael Glassco, 2012, University of Iowa)

TAGS

2012activismAdbustersadvertising hijacking • advertising imagery • advertising messages • appropriated images • appropriation activists • appropriation artists • appropriation practices • appropriation tactics • Barbara Kruger • Billboard Liberation Front • bricoleur • Buy Nothing Day • co-optioncommodificationconstructed identitiesconsumption spectaclecritical cultural hijacking • critical cultural studies • critique in public spaces • critique power • culture jammingdiscursive struggles • fauxvertising • graphic agitator • guerrilla artGuerrilla Girlsguerrilla tactics • hegemonic containment • hegemony • ideological struggle • ideological systems • ideological warfare • images of appropriation • institutionalised art • Jenny Holzer • manufacturing identity • media hijacking • Michael Glassco • neoliberalismparticipatory engagement • pastiche of visual codes • PhD thesis • poetics of appropriation • political protest • prevailing hegemonic order • privatisation of culture • public space • rebellious bricoleur • revolutionary subjects • Robbie Conal • Rosemary Coombe • Shepard Fairey • sublimating desire • subversionsubvertisements • subvertising • systematic asymmetries of power • tactic of dissent • tactical strikes • tactics of appropriation • tactics of guerrilla semiotics • The Billboard Liberation Front • transgression • TV Turn off Week • un-commercials • unequal access to cultural resources • University of Iowavisual codesvisual representation

CONTRIBUTOR

Simon Perkins
01 SEPTEMBER 2017

Truth In Advertising: Guerrilla Art in Santa Cruz 1980-1985

"The photographs in this exhibit are of actual altered billboards that appeared on the streets of Santa Cruz, California from 1980 to 1985. The photographs have been adjusted for brightness, contrast, and parallax, but no content changes were made.

The billboards were made over by a clandestine network of midnight billboard editors operating under the name of Truth In Advertising, or TIA for short.

This exhibit of their historic work was first presented in 2007 at the Santa Cruz Museum of Art and History. The exhibit is made up of 12 billboards presented in the order in which they appeared on the streets of Santa Cruz. The sequence also tells the story of Truth in Advertising, and documents publicity and commentary."

(Bob Stayton)

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TAGS

1980sactivismadadvertising billboardsadvertising hijackingappropriation practicesbillboardbillboard bandit • Bob Stayton • brandalismcritical cultural hijackingculture jammingdetournement publicitaireguerrilla artguerrilla tacticsmedia hijacking • media reinterpretation • re-purposerecombinatory practiceridicule • Santa Cruz • transformative works • Truth in Advertising (TIA) • William Board (pseudonym)

CONTRIBUTOR

Simon Perkins
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