AICP SHOW HONORS BEST COMMERCIALS OF THE YEAR NEW YORK, June 6, 2013 The AICP Show: The Art & Technique of the American Commercial premiered tonight at The Museum of Modern Art (MoMA) in New York City, closing out AICP Week, a celebration of advertising in the motion image, which also included the debut of the AICP Next Awards at the NYU Skirball Center, and the return of the AICP Directors Lectures Series at MoMA. Two thousand members of the advertising, marketing and production industries attended the debut of the AICP Show. Serving as chair of this year's Show was Michael Di Girolamo, Partner/Executive Producer of Station Film. Following its premiere at MoMA, the Show will tour museums and cultural institutions around the country and abroad. This year's honorees along with the entire Show archive are available for viewing at www.aicpshow.com. Each year, the honored work becomes a part of the archives of the Department of Film at The Museum of Modern Art. The collection now numbers over 1,500 pieces of advertising in the motion image.
Each category of the Show may have up to three honorees, with the exception of Advertising Excellence/Single Commercial and Advertising Excellence/Campaign, which may have only one honoree each, making those pieces Best in Show. DirecTV's DirecTV Cable Effects campaign - comprising the spots Funeral, Platoon, and House, all directed by Tom Kuntz of MJZ via Grey was honored in Advertising Excellence/Campaign. Best Job for Procter & Gamble out of Wieden Kennedy and directed by Alejandro Gonz lez I arritu of Anonymous Content, was honored for Advertising Excellence/Single Commercial. A Curator's Recognition was given to Nike's Jogger, out of Wieden Kennedy, and directed by Lance Acord of Park Pictures. The recognition is bestowed by a unanimous vote of the Curatorial Committee for a piece that would otherwise not be included in this year's archive. In the AICP Next Awards, the Most Next honor went to R/GA's Nike Nike Fuelband. The winner of the Most Next honor directs a $5,000 grant from the AICP Foundation to an educational institution of their choosing. Greenberg of R/GA accepted the honor, directing it to The Active Schools Fund which is managed by Partnership for a Healthier America
.
The most honored production company was MJZ, with eight honors, followed by Biscuit Filmworks with six honors. Anonymous Content and Rattling Stick each received five honors, while Hungry Man, Imperial Woodpecker, and ber Content each had three honors. Among directors, Ringan Ledwidge of Rattling Stick had the most honors, with five, followed by Alejandro Gonz lez I arritu of Anonymous Content (4); Tom Kuntz of MJZ (4); and Tim Godsall (3). On the agency front, Wieden Kennedy topped the honors with 17, followed by BBH (7); McCann (5); R/GA (5); and DDB (4).
The Art & Technique of the American Commercial has a bifurcated judging system, which begins with a series of judging panels featuring over 400 judges from across the country and around the world, with experts in various fields judging work across the 23 categories. The process culminates in the meeting of the Curatorial Committee, which is the final arbiter in the disposition of the Show, confirming eligibility and appropriateness to category.
The AICP Show reel features custom-designed graphics by Logan, with an original score by tonefarmer, and sound design by Henryboy. The Show Sponsor piece was created by The Mill with a score by HUM Music.
On display during the gala reception for the AICP Show were several media stations from longtime AICP collaborator and sponsor McCann Systems, featuring cutting edge experiential technology from X20 Media. Guests were able to take advantage of MoMA's offerings, with access to the museum's permanent collection, as well as an exhibit of Claes Oldenburg's work.
The AICP Show sponsors help make the Show possible. AICP's Partners, who support all AICP events throughout the year, are: CAPS, Deluxe, and Universal Studios. Its Supporting Partners are Anthem Blue Cross and Sony Pictures Studios. The Show Corporate Leader is the Directors Guild of America (DGA). The Corporate Benefactors are: Advertising Age, Aspen Travel, Creativity, Hello World Communications, International Digital Centre, Inc., Istros Media Corporation, Logan, The London Hotels, McCann Systems, Nice Shoes, SHOOTMagazine/SHOOTonline, SourcEcreative, and Zester. Corporate Patrons: Arenson Prop Center; COLOR: An Audio Production Company; Entertainment Partners; Frankfurt Kurnit Klein & Selz; Henryboy, HUM Music, Kodak, shots, Spot Welders, The Mill, tonefarmer, and VCU Brandcenter.
After its debut at MoMA, the Show goes on tour across the United States and abroad. The Show will screen in Los Angeles on July 24th; in San Francisco on September 18th; in Austin on September 26th; Atlanta on October 10th; Dallas on October 17th; and in Chicago on November 21st. The dates for Minneapolis, Miami and Richmond will be posted on aicp.com as they become available.
Further information is available at www.aicpshow.com or by calling 212-929-3000.
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AICP SHOW HONORS BEST COMMERCIALS OF THE YEAR NEW YORK, June 6, 2013 The AICP Show: The Art & Technique of the American Commercial premiered tonight at The Museum of Modern Art (MoMA) in New York City, closing out AICP Week, a celebration of advertising in the motion image, which also included the debut of the AICP Next Awards at the NYU Skirball Center, and the return of the AICP Directors Lectures Series at MoMA. Two thousand members of the advertising, marketing and production industries attended the debut of the AICP Show. Serving as chair of this year's Show was Michael Di Girolamo, Partner/Executive Producer of Station Film. Following its premiere at MoMA, the Show will tour museums and cultural institutions around the country and abroad. This year's honorees along with the entire Show archive are available for viewing at www.aicpshow.com. Each year, the honored work becomes a part of the archives of the Department of Film at The Museum of Modern Art. The collection now numbers over 1,500 pieces of advertising in the motion image.
