This outdoor ad, newly posted on a phone kiosk, arrested me as I strolled down Lexington Avenue last night. Its explicit content can be summarized as follows:
A young woman, facing the viewer, holds what appears to be a prosthetic arm—her own prosthetic arm, one infers. The young woman is casually dressed in a sweater and jeans. Her expression borders on neutral. Where her right arm should be, the sweater has been pinned back. The poster also contains words advertising a new HBO documentary, executive-produced by James Gandolfini, concerning the difficulties faced by a new generation of American war veterans returning home from Iraq.
That is a pictorial inventory, but the poster contains more content than I have listed. Most of that content is externally located. For this poster has been framed and shot, and its subject styled and posed, almost exactly like an American Gap ad.
Consciously or unconsciously, an American viewer will almost certainly make an uncomfortable connection between the disfigurement and sacrifice portrayed in this ad, and the upbeat quality of the Gap’s long-running, highly successful clothing slash lifestyle campaign.
That connection is content. And the non-verbal information that triggers that content in the viewer’s mind is art direction.
Wordless and full of meaning
What is the art direction saying? What is it adding to the content that is already there? Surely the sight of an attractive young woman who has lost her arm fighting in Iraq is loaded enough as an image. Surely a non-combatant, far from Iraq, safe at home, already feels plenty of complex emotions when confronted with this one veteran and at least some of the visual evidence of her sacrifice. What additional statement is being made by the art director’s decision to style this poster like a Gap ad?
Here is a possible reading:
While many Americans are well aware that their country is at war, many others are doing their best to blot that thought out of their minds. In this effort at collective amnesia they are abetted by many retail advertisers and TV programmers, including not a few TV news programmers. Ratings-wise, the war is a bummer. Sales-wise, it is a drag. America wants to shop and move on. (Interestingly, the fashion industry is the one segment of America’s consumer culture that is paying attention. The 691 pages of the new September Vogue are filled with skirts, shoes, dresses, and jackets that obviously resemble armor or in other ways clearly invoke awareness of war and warriors.)
In conceiving the way this poster would be shot and styled, the art director was not holding the Gap responsible for the war in Iraq. Nor was he or she blaming the viewer. But by carefully echoing the imagery of an ad that epitomizes our comfortably shallow consumer lifestyle, the art director does indict the complacent among us and challenge us to think about something besides our next new sweater or iPod.
The placement of type ensures that the words are the last thing we see on the poster. We absorb and are discomfited by the rich, non-verbal text for several beats before our eyes take in the explicit, written content announcing a documentary.
That is art direction. It is not art. It is not design. It is something else. It makes us feel. It makes us think. It holds up the mirror to our desires, our regrets, ourselves.
[tags]artdirection, whatisartdirection, alivedaymemories, iraq, gap, veterans, advertising, iraqwar, wariniraq, posters, thesis, antithesis, synthesis [/tags]
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