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.

Banksy

British graffiti artist, Banksy known for his antiauthoritarian art, often done in public places.
his work involved with political issue and social issue, such as anti-war, anti-capitalist or anti-establishment. Subjects include rats, monkeys, policemen, soldiers, children, and the elderly.
what is so great about him is he thinks about the message that puts on the public, after people see it, they understand the meaning immediately.
He works have been gone mainstream in modern art world, the reason is it speak the truth about the world. persuading people to accept our ideas and do what we want them to do is a basic universal human activity, but as people we have ability to change that by becoming knowledgeable, so no one can fool as.

Execution

Execution is a Chinese art painting by Beijing artist Yue Minjun.The piece was inspired by the Tiananmen Square protests of 1989, though the artist has also mentioned through translation that the art should not depict what happened at Tiananmen square. In 2007 it became the most expensive work sold by a Chinese contemporary artist.
from my vision, there is a key distinction between "Execution" and Francisco de Goya's "The Third of May, 1808: The Execution of the Defenders of Madrid" and Edouard Manet's "The Execution of the Emperor Maximilien of Mexico."

the painting shows a murder, true assassination of a political figure. But here, it's far more potent. Because they're killed by culture. The laughing was a response to unimaginable persecution, like you don't know what the hell else to do. You're nervous. You're not laughing, 'Ha ha hee hee.'" As for the underwear, You're stripped down, you're defenseless. Even worse, you're being shot with cultural forces, not bullets.

vacuum cleaners

one of a number of American artists to emerge in the 1980s with an aesthetic devoted to the decade's pervasive consumer culture. Koons used his work to reflect the commercial systems of the modern world.

His vacuum cleaners encased in perspex (1980–81; see 1993 exh. cat., pls 5–9) were classified as monuments to sterility. His immaculate replicas of domestic products, advertisements, kitsch toys and models exercised an enthusiastic endorsement of unlimited consumption, unlike the veiled criticism of some work of the first generation of Pop artists. Koons perceived Western civilization as a driven society, flattered by narcissistic images and with a voracious appetite for glamorous commodities.

Koons managed to shock the art world with one audacious work after another, from displaying commercial vacuum cleaners and basketballs as his own art to making porcelain reproductions of kitsch objects to showing homemade pornography.

Mao

Mao, 1972 by Andy Warhol,
Mao is one of a series of silkscreened portraits of the Chinese Communist leader Mao Zedong that Warhol produced in 1973. Nearly 15 feet tall, this towering image mirrors representations that were displayed throughout China during and after the Cultural Revolution (1966-76). The original picture is a rectangle approximately one-third again as long as it is wide and the Chairman looks directly toward the camera with a benevolent expression on his face. He seems to have a slight, kindly smile but is, at the same time, clearly a serious person.
In this paintings Warhol made many points about applying mechanized methods of reproduction to "fine arts," thereby turning fine art into consumer goods.