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Symbiotic Postures of Commercial Advertising and Street Art

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Symbiotic Postures of Commercial Advertising and Street Art SYMBIOTIC POSTURES OF COMMERCIAL ADVERTISING AND STREET ART Rhetoric for Creativity Stefania Borghini, Luca Massimiliano Visconti, Laurel Anderson, and John F. Sherry, Jr. ABSTRACT: An ongoing tension between new ways of achieving novel, meaningful, and connected forms ofexpression is permeating the practice ofadvertising and igniting a lively academic debate. Novelty and social connection have long been preoccupations of art worlds. In this paper, we explore the creative tensions and synergies between countercultural and commercial communication forms ofstreet art and advertising. Viewing each form as a species of rhetoric, we analyze a set of rhetorical practices employed by street artists that not only reflect, but might also be used to shape, commercial advertising in the near future. Advertising has been acknowledged as art (Twitchell 1996) diverts, and inverts advertising proper to promote noncom­ and christened capitalist realism (Schudson 1984). Even though mercial consumption. In this paper, we analyze street art as rhetoric in advertising has different purposes compared to a species of advertising, explore the use of advertising by art (e.g., EI-Murad and West 2004), the rhetorical process street artists, and examine the implications of street art for in the two contexts is similar (White 1972; Zinkhan 1993). advertising creativity. We focus in particular on the poten­ In the same way art influences and gives meaning to our life, tial contributions of the creative rhetoric employed by the advertising shapes contemporary consumer culture (e.g., stakeholders of street art to advertising practice. Elliott 1997; Willis 1990). As art mirrors the shared truths, As with its commercial counterpart, street art is a product ideals, and metaphors of a given society, advertising reflects that embodies its own advertising. Seen as a countercultural our popular culture. As art embodies universal fantasies, response to commercially or statist-induced alienation, street feelings, and thoughts, advertising expresses the rational and art is a populist aesthetic, a consumerist critique, and an emotional experiences and moods of consumers. Rhetoric in urban redevelopment project. Street art espouses a vision of both art and advertising is strictly influenced by the social space reappropriated as place, where commercially noisy or context within which it originated (e.g., Csikszentmihalyi entirely silent streets are reclaimed by artists for their proper 1999). "owners." Iron shop gates become canvasses for publicly held A parallel art form that poses a creative challenge for the open-air museums. Subway trains become moving instal­ advertising industry is the one we categorize as the global lations conveying subversive meaning to residential areas. Street Art Movement, or, more simply, street art. Street art Such subvertising parodies, appropriates, and occasionally might be characterized as capitalist surrealism, postmodern capitulates to its commercial counterpart. realism, or perhaps even as "subvertising" as it converts, Street art has the visual and cognitive effect ofcommercial advertising, and many ofits brand dynamics, but carries mes­ sages ofenjoyment, ideological critique, and activist exhorta­ Stefania Borghini (Ph.D., Universita Bocconi) is an assistant pro­ tion rather than ofcommercial consumption. It offers both an fessor of marketing in the Management Department, Universita implicit and explicit challenge to advertisers, who ultimately Bocconi, Milan (Italy). will be tasked with appropriating street art's authentic essence Luca Massimiliano Visconti (Ph.D., Universita Bocconi) is a to revitalize their own commercial efficacy (Holt 2002). lecturer in marketing and director of the Master in Marketing and Street art can be framed as advertising, promoting the Communication in the Management Department, Universita Boc­ artists as well as their ideologies. Moreover, it can be framed coni, Milan (Italy). as an alternative template for advertising. Some street artists Laurel Anderson (Ph.D., Arizona State University) is an associate are employed in the advertising industry, and some aspire to ptofessor in the Department of Marketing, W.P. Carey School of become advertisers. Some street art is used for commercial Business, Arizona State University, Tempe. advertising purposes, in both legitimate and faux forms. Some John F. Sherry, Jr. (Ph.D., University of Illinois) is Herrick Profes­ street artists rail against advertising and the consumer cul­ sor of Marketing and department chair in the Mendoza College of ture. However advertising is imbricated, street art has a mul­ Business, University of Notre Dame. tistranded relationship with its commercial counterpart. jOlm/al ofAdm/iring, vol. 39. no. 3 (Fall 2010). pp. 113-126. © 2010 American Academy of Advertising. All tights reserved. ISSN 0091-3367 I 2010 $9.50 + 0.00. 00110.27S3/JOAOO9I-3367390308 114 TheJournal ofAdvertising Relying on a long-term ethnographic and netnographic is linked to higher levels of creativity as measured in terms of (Kozinets 2002) engagement with the global Street Art Move­ advertising awards won (E1-Murad and West 2003). ment, in this paper, we analyze a set of rhetorical practices Interestingly, each ofthese elements (paradoxical thinking, employed by street artists that not only reflects, but might also associative ability, and novelty/risk taking) is also reflected in be used to shape, commercial advertising in the near future. We street art visual rhetoric. We thus demonstrate that advertis­ approach the craft of advertising as rhetoric (Deighton 1985; ing creativity can be studied as rhetoric (Deighton 1985; McQuarrie and Mick 1992; Pracejus, Olsen, and O'Guinn McQuarrie and Mick 1992; Pracejus, Olsen, and O'Guinn 2006; Scott 1994b; Scott and Vargas 2007) where symbols are 2006; Scott 1994b; Scott and Vargas 2007). Advertising is used to persuade and take into account the visual aspects of rhetorical communication, and creativity has to serve this goal. advertising (Kenney and Scott 2003; McQuarrie and Phillips Our study focuses on emergent visual rhetorical practices that 2005; Scott 1994b; Scott and Vargas 2007). We contribute to can inspire advertisers. the existing knowledge on the rhetorical process ofadvertising and identify strategies that can be applied in order to enhance Social Use of Advertising creativity (EI-Murad and West 2004). The rhetoric in street art can stimulate advertising practice in two domains: idea When investigating the intersections between street art and generation (e.g., Reid and Moriarty 1983) and social engage­ advertising, the social use ofadvertising by its audiences needs ment (Ang, Lee, and Leong 2007). consideration. The current debate on existential consumption (e.g., Elliott 1997; Firat and Venkatesh 1995; Willis 1990) considers consumer creativity as a form of agency that is car­ THE RHETORIC OF ADVERTISING ried our within the constraints imposed by the hegemony AND STREET ART of the market (e.g., Goldman 1992), often expressed as the Rhetoric and Creativity manipulation and reinterpretation of advertising by active consumers. Rhetoric is a pervasive trait ofboth commercial and noncom­ Advertising is a cultural product consumed symbolically mercial creativity in communication. We use the term rhetoric by consumers independently of the products being promoted to address both verbal and visual street interventions. Initially, (Elliott 1997; Willis 1990). While some authors have advo­ rhetoric was considered an exclusive domain ofverbal language cated a deeper understanding ofthis phenomenon (e.g., Ritson (Kenney and Scott 2003). Recently, the issue ofvisual rhetori­ and Elliott 1999; Scott 1994b), the social use ofadvertising has cal practices has entered the advertising researchers' agenda been an underdeveloped research topic. Some exceptions have (Bulmer and Buchanan-Oliver 2006, p. 55; Pracejus, Olsen, shown that advertising messages have a cultural meaning in and O'Guinn 2006; Scott 1994a, 1994b). Hence, an analysis everyday life (McCracken 1988), are an incentive for word-of­ of visual rhetoric considers how images work alone and col­ mouth conversations (Sherry 1987), represent a way to reveal laborate with other elements to create an argument designed an individual viewpoint to others (Mick and Buhl 1992), and for moving a specific audience. In this light, advertising and influence existing rituals (Omes and Scott 1996). Consumers street art share a common interest in elaborating communica­ are aware of the rhetorical conventions of advertising and are tion structures that inform and persuade their audiences. able to interpret its rules of language in the same way they Recently, there has been a demand for the development are able to understand visual conventions applied in movies of a general theory of advertising creativity (e.g., Reid and (Pracejus, Olsen, and O'Guinn 2006). Rotfeld 1976; Smith and Yang 2004; Zinkhan 1993) for Young people are particularly prone to engaging in the which a rhetorical approach holds much promise. Scholars creative use ofmaterial culture in their daily lives (O'Donohoe have applied contriburions from psychology and adapted their 1994, 1997; Ritson and Elliott 1999; Willis 1990). They prescriptions to advertising. Blasko and Mokwa 0986, 1988) elaborate meanings, combining the irony, playfulness, and adopt aJanusian approach, which is rooted in the logic ofpara­ ephemerality of advertising. They manage a vast repertoire doxical thinking, apparently opposite or
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