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Awards

A Gala to Remember: Your Final 92nd ADC Awards Recap


 

With the 92nd ADC Awards Gala now in the books (winners list here), we bring our our final entry from the event courtesy of the Art Directors Club’s director of content + communications, Brianna Graves. As she boards the plane back home, she managed fill us in with this brief, somewhat gushing on-the-scene recap.

One would have been hard pressed last night to forcibly wipe the grins off the faces of the attendees of the ADC 92nd Annual Awards Gala.

The majesty of the Frank Gehry-designed New World Center, home of the New World Symphony, cast a magic spell from the moment that guests approached the red carpet outside (albeit, in a drenching downpour and tornado warning), then had their photo taken inside before enjoying cocktails, light hors d’oeuvres and a little mixing and mingling prior to the Gala. The mood was lit around the New World Center Atrium by ADC partner Float4 Interactive, who covered the screens above with light and color.

Inside the main performance hall was no less stunning. The venue itself, with incredible sound, performance and lighting capabilities, set the tone of the evening. But when ADC Executive Director Ignacio Oreamuno took the stage to welcome his guests not only to the 92nd Annual Awards, but also to a new era, a new standard and a new future of the Art Directors Club and its Annual Awards, the tone of the evening was solidified. ADC was presenting nothing but the best.

Ariel Adkins, ADC membership associate and author of Artfully Awear, dazzled the stage as the Pantone trophy girl. She accomplished a record number of costume changes designed with a distinct Pantone color in mind, and synced with a complete relighting of the stage and performance hall designed by Float4.

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Building Bricks of Inspiration: Your Day 2 ADC Awards Highlights


Yes, Brianna Graves, director of content + communications for the Art Directors Club is back to provide some on-the-ground, firsthand perspective from the 92nd ADC Awards, which you probably know by now is taking place in Miami Beach in NYC. While we still suffer the cold up here in the Big Apple, let Brianna share memories from warmer climates. Yeah, we’re just jealous. If you missed her quick Day 1 recap, go here and watch the day 2 clip above.

It’s hard to define a pinnacle moment of Day Two of the ADC 92nd Annual Awards + Festival of Art and Craft in Advertising and Design simply because the energy remained so high throughout the day.

Rafaël Rozendaal surprised attendees early in the first of the two morning workshops with a presentation of work that contrasts his quiet demeanor with its absolutely outstanding ingenuity and reasoning. Rozendaal is the type of man so ahead of his time that we will all look back on this Festival from our rocking chairs in our nursing homes some day, and marvel that we hung out with and learned from Rozendaal in Miami Beach in 2013.

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Here’s a Quick Report from Day 1 of the ADC Awards in Miami

As many of you probably know, the Art Directors Club decided to take its hardware, talents, what have you from New York City to South Beach for its 92nd Awards Show. So, in case you missed lingering around the ADC Gallery in Chelsea, we have some first-person perspective from the event in warmer climates courtesy of the organization’s director of content & communications, Brianna Graves, who offers her recap of one particular moment that she dubs “Stageside Craft.” Recap of Day 1 in video form above. 

A could-have-been disappointment turned into one of the most special moments of the first day of the inaugural ADC 92nd Annual Awards + Festival of Art and Craft in Advertising and Design. With the day’s workshops wrapped and the drinks in the afternoon poolside Creative Register Cabana consumed, all Festival attendees headed for the Private Pool + Lawn at W South Beach to kick back and absorb the inspiration of Day One at the Opening Night Pool Party presented by Martin Guitar.

An open bar provided unlimited cool drinks to get people loosened up to mingle, and a line grew around the pool for the opportunity to create a signature pasta dish. The lawn was packed with colorful, clearly Miami Beach-ready guests, as the ADC’s executive director Ignacio Oreamuno [ed: he explains the move to Miami here] took the stage to introduce musician Keaton Simons. The crowd fell silent. But something wasn’t right. A venue-imposed noise restriction made it challenging, but not impossible, to hear Oreamuno’s voice across the lawn. But a not-so-gentle ocean breeze blowing off the sands of South Beach and straight into the microphone finished the job, and barely a word or a strum from Simons’ guitar could be heard as he began his set.

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Pittsburgh ADDYs Resorts to Creative ‘Mindf***ing’ in Self-Promo

We should start by noting that it was admittedly hard to resist posting about this since we are briefly mentioned and all. Hell, who couldn’t use a mid-day ego boost? Besides the name-check, though, we were somewhat intrigued by this lengthy, perhaps Being John Malkovich-inspired self-promo for the Pittsburgh Advertising Federation’s 2013 ADDYs, which took place last Friday (recap here).

In a clip that we say tops whatever the Dallas ADDYs came up with this year, we learn what a creative’s mind looks like when he or she is out of ideas, a barren wasteland of cliches, sex toys and worries about being called a “hack” (which, unfortunately, is quite a familiar term in these parts). The only downside to this clip, penned by OgilvyAction copywriter Jacob Bofferding, is the protagonist being the ultimate hipster creative cliche, which we’ve seen way too many times this year thanks to the deluge of 72andSunny-created Samsung Galaxy spots. Other than that, we can think of worse ways to kill a few minutes.

Cheat Your Way to the AICP Awards (Not Really)

The Association of Independent Commercial Producers unveiled it’s campaign for the 2013 AICP Show and AICP Next Awards with a few spots that resemble fake interstitials from a sci-fi movie most likely directed by James Cameron. The machines aren’t taking over, but we do have EureeCorp, the make-believe company with a line of products like the Idea Orb, which can transmit award-winning ideas to your brain as you sleep.

If the Idea Orb doesn’t inspire collusion, there’s always the Centaurus 3000, a computer full of magical software and algorithms that produces a scent where you “can waft in the ideas of the future.” Okay, the machines might be taking over, and those machines really like detached body parts.

This AICP campaign doesn’t have as much bite as some of their previous, more carnivorous work, but success can’t always be duplicated. After all, innovation has no formula. Credits and the Centaurus 3000 spot after the jump.

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TED Announces Latest ‘Ads Worth Spreading’ Winners

Is it that time already? Well, the folks behind non-profit org TED have announced this year’s list of winners for its annual “Ads Worth Spreading” challenge. How do they measure up to previous winners like Willie & Chipotle’s “Back to the Start?” Well, we’ll let you be the judge, but yes, Y&R NY’s “Annie” ad for Dell (below) as well as a couple of Super Bowl spots made the grade this time around including the Dodge Ram “Farmer” SBXLVII entry and Coca-Cola’s “Security Cameras” effort.

According to the TED camp, to find the work, they briefed six teams of two–one TED speaker paired with one “rising star from the advertising industry”–to seek out work in each category. In turn, TED’s 25 “Advocates,” which is not a Scientology phrase as far as we know but are those who are actual industry leaders in advertising, production, curation and film,” twisted arms and nominated across all categories such as  Talk, Social Good, Creative Wonder and Brand Bravery. See full winners list here.

Cassies are Cheerfully Irrelevant

Grammys. Oscars. MTV Music Video Awards. Cassies. Some award shows are more popular than others, but at the end of the day, they are all irrelevant except to those who win. Instead of asking nominees to cover up their curves, as was protocol at this year’s Grammys, the best approach is to let it all hang out with some good old fashioned self-deprecation.

Here are three clever promos created by Toronto agency john st., which introduced us to “Buyral” not too long ago, for the 2013 Cassie Awards, which apparently have been billed by the parties involved as the Canadian Effies. If nobody else cares about your commercials, at least you can add a trivial trophy to the banner of the agency website only clients will know about. I’ll leave you to the other two spots and the credits after the jump before the imaginary orchestra cuts me off.

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Grammys Remind You That ‘The Whole World is Listening,’ But No Pressure or Anything

For the sixth consecutive year, TBWA\Chiat\Day L.A. is behind the ad campaign for CBS’ telecast of the Grammys, which airs on Feb. 10.

The new campaign, titled “#TheWorldIsListening” (because all campaigns require hashtags now), continues on the The Recording Academy’s quest to highlight somewhat younger musicians than in years past. Starting in 2011, when the Grammys shocked the country by bestowing the coveted Album of the Year award on Canadian indie band Arcade Fire, the awards show has benefited immensely in TV ratings by targeting a younger audience. That’s probably why in the first 60-second spot, “Anthem,” we get narration by Rihanna Cat Power and cameos from Skrillex, Taylor Swift, and the newly christened Snoop Lion.

Of the trio of new spots, the real winner is the above 30-second piece featuring blues-rock duo The Black Keys with narration by New Orleans blues legend, Dr. John. The Black Keys’ newest album, El Camino, is nominated for the prestigious Album of the Year award this time around. Considering it’s probably the Black Keys’ worst (as Arcade Fire’s worst, The Suburbs took home the award in 2011), it’s my odds-on-favorite to win big in 2013.

The campaign also features a web component dubbed the Grammy Amplifier, a something that a statement from Chiat says “has the potential to become a new platform for social musical discovery.” Watch one more spot starring Rihanna and view credits after the jump.

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The 2013 Dallas ADDY Teasers Hath Overfloweth

As a midday interlude, we give you this latest round of teasers hyping the 2013 Dallas ADDY awards, which are basically a month away. Following up on the Richards Group-created promo from December, which introduced us to this year’s obviously silly “Trade your baby for a trophy” theme, the ADDY gang presents the third and fourth installments with, yes, babies still in tow. As we remember the time when the AAF unveiled far better promos to hype their annual event, we’re also feeling increasingly sorry for the little ones in this year’s batch. Ah well, consider it a quick lunchtime time-killer.

 

Dallas ADDY Crew’s 2013 Mantra: Who Needs Babies When a Trophy Will Do?

Those ad-obsessed folks at the American Advertising Federation are back with another silly call-for-entries campaign for the Dallas ADDYs, using this tagline for the 2013 awards: “Trade Your Baby for a Trophy.” Yep, you read it correctly, but as you see in the video above and on the 2013 Dallas ADDYs site, the little tikes are being used as an analogy for ideas. Very clever. Hometown agency The Richards Group was behind the clip above, which to be honest pales in comparison to the absurd promos that wrapped up the 2012 awards. While this may not necessarily light a fire to enter, let us tell you that you only have until tomorrow, Dec. 12, to send your “idea baby” and make deadline. Godspeed.

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