The New Icons?: The Art of Television Advertising

Daniel J. Robinson is a Ph.D. candidate in history at York University.

This book aims to situate television advertising at the juncture of
aesthetic criticism, anthropological analysis, and historical overview.
International in scope (American, British, and Canadian ads constitute
the mainstay), the book surveys the artistic content and cultural
context of TV advertisements since the 1950s, focusing primarily on
award-winning ads. Rutherford believes TV commercials perform a dual
function: of course, they sell products and services; but, more
alluringly, they represent a form of popular art—“the art” of the
consumer society. Indeed, they are compared (improperly, I think) to the
venerated religious icons of medieval Europe.

The book draws on a substantial number of ads culled from archives
throughout North America and Europe. Unfortunately, Rutherford’s
penchant for touching on as many ads as possible results in a staccato
effect: rapid-fire description of ads organized by theme without
sufficient aesthetic and contextual analysis. The most cogent
chapter—on the “Marlboro Man,” Coke, and Pepsi
campaigns—contained the fewest ads. The book’s main weakness is its
medium. The print format is unable to convey the enticing visual and
sonorous qualities that make TV advertising a compelling cultural and
commercial agent.