By Joan Gibbons
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Extra info for Art and advertising
In addition to in-store and inhouse promotional material for companies such as Nike, Why Not Associates have been instrumental, since their formation in 1987, in the promotion of contemporary art with poster and catalogue work for the Sensation, Apocalypse and Joseph Beuys exhibitions at the Royal Academy, London. These Wordplay 25 works are not predominantly typographic, presenting a balance of image and text. However, Why Not Associates have, in another context, assisted in the production of large-scale, word-based public art with their work as part of an arts-led regeneration project, ‘tern’ in Morcombe, England.
25 Disposables, shown in the Fisbach Gallery, New York, comprised coloured, mass-produced, vacuum-formed, two-dimensional shapes such as squares, diamonds, circles or, in some cases, three-dimensional objects which looked as if they had been formed around cylinders or boxes. Levine’s point was that, in many cases, it is only market mechanisms that restrict the supply of artworks and that the inaccessibility of the artwork is not so much to do with scarcity as with economic strategies. 26 As Levine himself commented: Thousands [of the disposables] have sold and some have thrown them out.
31 In works such as Is Anal Sex Legal? (1998) and Every Part of Me’s Bleeding (1999), Emin simultaneously exploits a potentially prurient appetite for knowledge of her abused childhood and sexual history and frees herself of the burdens of such histories. Alternatively, Emin simultaneously feeds this appetite with works that celebrate her more recent sexual history and its potential for healing as, for example, in Kiss me Kiss me Cover my Body in Love (1996) or Fantastic To Feel Beautiful Again (1997; ﬁg.