Ads are the cave art of the twentieth century.

Advertising is the greatest art form of the twentieth century.

Ads represent the main channel of intellectual and artistic effort in the modern world.

The art of the future will be largely advertising.
that bold and unimpeachable lesson I have learned from museums and great works from the past—
all art for centuries past has been marked by advertising purposes: the exaltation of the warrior, the saint; documentation of deeds, ceremonies, and historical personages depicted at their victories, with their symbols, in the regalia of command and splendor—
even their highest products were simultaneously meant to glorify something: architecture, royal palaces, thrones, drapery, halberds, standards, heraldry and arms of every sort—
there is scarcely an ancient work that doesn’t have advertising motifs, a garland with a trophy, with weapons of war and victory, all stamped with seals and the original symbols of clans, all with the self-celebrating freedom of ultra-advertising

Now as ever, he was startled by the wild exuberance of the twentieth century. All these lights! Colored neon and glaring filaments, powered, he had learned, but mechanical dams spanning rivers hundreds of miles away. And most of this—astonishingly—in the name of advertising.

There is no question that advertising is an art, and manipulation is the art of advertising through the medium of the tape.

Advertising is corporate form of art and the goal is to make an effect. Every artist- any painter, any poet or musician sets out to create an effect, he sets a trap to catch somebody`s attention. That is the nature of art.

This is the visual world, using the most advanced advertising techniques that are familiar to the crowds in their daily life.. ..What kind of representational art do you want to inflict on these men then, when they’re solicited everyday by the cinema, radio, huge photo montages and advertising hoardings? How can you compete with these enormous modern mechanisms, which give you art to the 1000th degree?

Advertising is the rattling of a stick inside a swill bucket.

The elephant in this big room, obviously, is context. In America, the twenty-first century began with the contested election of 2000, followed shortly thereafter by the terrorist attacks of September 11, 2001. From there came the wars in Iraq and Afghanistan, the financial collapse of 2008, the lightning-rod election of the first black president, the rise of antidemocratic authoritarianism at the hands of his successor, and finally a second contested election and a worldwide pandemic that saw the death of one million Americans. All of which is to say: None of the art made in this period happened under “normal” conditions.

I think the key image of the 20th century is the man in the motor car. It sums up everything: the elements of speed, drama, aggression, the junction of advertising and consumer goods with the technological landscape. The sense of violence and desire, power and energy; the shared experience of moving together through an elaborately signalled landscape. We spend a substantial part of our lives in the motor car, and the experience of driving condenses many of the experiences of being a human being in the 1970s, the marriage of the physical aspects of ourselves with the imaginative and technological aspects of our lives. I think the 20th century reaches its highest expression on the highway. Everything is there: the speed and violence of our age; the strange love affair with the machine, with its own death.

The art of advertisement, after the American manner, has introduced into all our life such a lavish use of superlatives, that no standard of value whatever is intact.

The road to hell is littered with ads.

The marriage of reason and nightmare that dominated the 20th century has given birth to an ever more ambiguous world. Across the communications landscape move the spectres of sinister technologies and the dreams that money can buy. Thermo-nuclear weapons systems and soft-drink commercials coexist in an overlit realm ruled by advertising and pseudo-events, science and pornography. Over our lives preside the great twin leitmotifs of the 20th century – sex and paranoia…In a sense, pornography is the most political form of fiction, dealing with how we use and exploit each other, in the most urgent and ruthless way.