What does it take to be a woman at the helm of advertising? What role does gender play in the leadership and growth of creative agencies? I recently set out to answer these questions along with Katy Osborn, doc filmmaker and co-founder of Amelia Street Studio, in our first ever Facebook Live.
Working together is more powerful than working alone, and that particularly holds true for women who work behind the scenes in critical yet often unrecognized roles in advertising, music, film, live performance, and broadcast media.
That’s just one reason why our team here at Curmudgeon Group recently launched Scope, a wide-ranging conversation focusing on the most visionary and emerging female producers of today. As a women-owned creative agency, we are in the unique position of being able to cultivate a community of veteran producers, creative leaders, and industry newcomers to alter and diversify the landscape, along with shifting attitudes and expectations.
Experiential art connects viewers to one another and to the work itself in ways that surround, captivate and fascinate - producing experiences that are anything but ordinary. It was only a matter of time before the advertising industry jumped on board. “I believe art is a bottomless pit to be used for experiential inspiration. It allows advertisers and brands to behave badly or strangely and with a shrug of the shoulders say 'it's art',” explains Campaign. For art purists, that may be an uncomfortable line of thought. For agency executives, it’s a line of thought that works.
At a time when the Twitter hashtag #metoo has officially become a thing — and hopes for serious change along with it — we thought it was time to ask our own Josie Elizabeth Davis, Curmudgeon Group’s founder and Chief Creative Officer, for her take on being an entrepreneur/woman/risk-taker/go-getter at the frontlines of experiential marketing, creative production, PR and advertising.
In what might be the most significant attempt by a major museum to tackle the subject of gender fluidity in contemporary art, Trigger: Gender as a Tool and a Weapon opened last month on September 27th at the New Museum. The exhibition gives voice to over 40 intergenerational and multi-disciplinary artists investigating “gender’s place in contemporary art and culture at a moment of political upheaval and renewed culture wars.” The collective work explores “gender beyond the binary to usher in more fluid and inclusive expressions of identity.”
A sea of viewers sits quietly enthralled, while a company of actors, established in their world of illusion, make believe they’re not there at all. An imaginary barrier that exists between actors and audiences in theatrical performance, the fourth wall carves out space for realism in a fictional world. But not only is the fourth wall being broken, but theater is on the move, traveling between spaces and city blocks, taking audiences along for the ride. This is immersive theater, and then some.
As Hurricane Harvey wreaks mayhem in the Gulf, and Irma surges over the Atlantic coast, the idea of marketing your business to hundreds of thousands of consumers in affected areas may seem appealing. It’s entrepreneurship 101: Problems create opportunities, right? Wrong.