"AT FIRST GLANCE, the phrase "avant-garde advertising" might seem like a contradiction in terms: The avant-garde is assumed to be inherently anti-capitalist and the realm of advertising crassly commercial. But the involvement of avant-garde artists with advertising is in fact rich, complex, and long-standing, encompassing a full century of collaborations, critiques, and reworkings of all sorts. That entanglement-in all its diversity-is the topic"
"Historically, the avant-garde had good reasons to engage with advertising. When avant-garde film emerged in the early 1920s, advertising psychology was still a new field, one that sought to harness the latest psychological research on suggestion and attention management to influence mass behavior through carefully planned advertising images. The avant-garde, too, was fascinated by the idea of provoking psychological responses in spectators through art. Hans Richter, for instance, in a 1924 text for the avant-garde periodical G: Zeitschrift für elementare Gestaltung (G: Journal for Elementary"
Avant-garde engagement with advertising spans a century and encompasses collaborations, critiques, and reworkings across commercial and public media. The body of work includes experimental advertisements for consumer goods, public-service trailers, educational films, activist interventions, and found-footage filmmaking. Early avant-garde filmmakers paralleled emerging advertising psychology by aiming to provoke psychological and psychomotor responses in spectators. Hans Richter described his Rhythmus films as forcing viewers "to 'feel'—to go along with the rhythm" and Sergei Eisenstein explored how film might trigger psychomotor reactions. Avant-garde artists frequently looked to laboratory science as a model for experimental practice.
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