Coca-Cola Happiness Factory by PSYOP

This is a commercial call "Happiness Factory" make by PSYOP an animation studio locate in New York, Since launching in 2006, the original "Happiness Factory" has gone on to become the highest rated global spot The Coca-Cola Company has ever tested. The ad has won several awards including a "Silver Lion" at the 2007 Cannes advertising awards, the "Grand Prix Gold Prize" at the 2006 Epica Awards and most recently a nomination for a primetime commercial "Emmy" in the United States. the spot has been very successful effect on Coke Cola products. the critique has been very controversial, it become a great topic in commercial industry.
I watched this numerous times exploring the love and soul that went into making this animation. You immediately notice that a lot of thought went into each character to make sure they add to the story-line.
I believe the main point of this post is the incredible execution of the animation, the detail, It’s a work of art. Advertising never tells us the complete story, it only shows us one side of the story. eve though it’s a lie. Coke is not a good, positive product that leads to happiness. It’s very unhealthy. This kind of advertising has its roots in the cigarette ads of old. but you have to hand it to Coke for the advertising concept and implementation, it’s brilliant.

Canyon (1959)

Robert Rauschenberg, American painter and graphic artist whose early works anticipated the Pop art movement.
Rauschenberg experimented with the use of newspaper and magazine photographs in his paintings, devising a process using solvent to transfer images directly onto the canvas. About 1962 he borrowed from Andy Warhol the silk-screen stencil technique for applying photographic images to large expanses of canvas, reinforcing the images and unifying them compositionally with broad strokes of paint reminiscent of Abstract Expressionist brushwork. These works draw on themes from modern American history and popular culture and are notable for their sophisticated compositions and the spatial relations of the objects depicted in them. During this period his painting became more purely graphic (e.g., Bicycle [1963]) than the earlier combines. By the 1970s, however, he had turned to prints on silk, cotton, and cheesecloth, as well as to three-dimensional constructions of cloth, paper, and bamboo in an Oriental manner.

Critics originally viewed the Combines in terms of the formal aspects of art, shape, color, texture, and the composition and arrangement of these. This 1960's view has changed over time so that more recently critics and art historians see the Combines as carrying codified messages difficult to decipher because there is no apparent order to the presentation of the objects.

The Physical Impossibility of Death in the Mind of Someone Living

Damien Steven Hirst British assemblagist and conceptual artist whose deliberately provocative art addressed vanitas and beauty, death and rebirth, and medicine, technology, and mortality. Considered an enfant terrible of the 1990s art world,

His displays of animals in formaldehyde and his installations complete with live maggots and butterflies were seen as reflections on mortality and the human unwillingness to confront it. Most of his works were given elaborate titles that underscored his general preoccupation with mortality.

Some critics loved his work, while others accused him of striving only for shock value. Regardless of critical opinion, the Turner Prize established Hirst as one of Britain's most important new talents.