New web film from Nike Running features a girl Alice who can't stop running, much to the despair of her boyfriend and the worry of her mom and dad. But hamstring and knee troubles are never a problem, because she's wearing Nike's Lunarglide + 3 Shields shoes.

Credits:
Ad Agency: Wieden + Kennedy Portland
Client: Nike Running
Copywriter: Dylan Lee
Copywriter: Icaro Doria
Art Director: Guillermo Vega
Producer: Felicia Glover
Producer: Endy Hedman
Executive Creative Director: Mark Fitzloff
Executive Creative Director: Susan Hoffman
Agency Executive Producer: Ben Grylewicz
Project Manager: Krissy Brunsman
Production Company: Park Pictures
Director: Glue Society
Line Producer: Michelle Currider
Editorial Company: Joint
Editor: Kyle Valenta
Post Producer: Shelli Jury
Post Executive Producer: Patty Brebner
VFX Company: A52
VFX Supervisor: Megan Meloth
Flame Artist: Paul Yacono
Titles/Graphics: W+K Studio
Music Company: Nelson Riddle
Song: Lolita Ya-Ya
Mix Company: Eleven
Mixer: Jeff Payne

The British Museum will open a major exhibition presenting a history of Indigenous Australia, supported by BP. This exhibition will be the first in the UK devoted to the history and culture of Indigenous Australians: both Aboriginal peoples and Torres Strait Islanders. Drawing on objects from the British Museum’s collection, accompanied by important loans from British and Australian collections, the show will present Indigenous Australia as a living culture, with a continuous history dating back over 60,000 years.

The objects displayed in this exhibition are immensely important. The British Museum’s collection contains some of the earliest objects collected from Aboriginal people and Torres Strait Islanders through early naval voyages, colonists, and missionaries dating as far back as 1770. Many were collected at a time before museums were established in Australia and they represent tangible evidence of some of the earliest moments of contact between Aboriginal people, Torres Strait Islanders and the British. Many of these encounters occurred in or near places that are now major Australian cities such as Sydney, Melbourne, Adelaide, and Perth. As a result of collecting made in the early 1800s, many objects originate from coastal locations rather than the arid inland areas that are often associated with Indigenous Australia in the popular imagination.

The exhibition will not only present Indigenous ways of understanding the land and sea but also the significant challenges faced by Indigenous Australians from the colonial period until to the present day. In 1770 Captain Cook landed on the east coast of Australia, a continent larger than Europe. In this land there were hundreds of different Aboriginal groups, each inhabiting a particular area, and each having its own languages, laws and traditions. This land became a part of the British Empire and remained so until the various colonies joined together in 1901 to become the nation of Australia we know today. In this respect, the social history of 19th century Australia and the place of Indigenous people within this is very much a British story. This history continues into the twenty first century. With changing policies towards Indigenous Australians and their struggle for recognition of civil rights, this exhibition shows why issues about Indigenous Australians are still often so highly debated in Australia today.

The exhibition brings together loans of special works from institutions in the United Kingdom, including the British Library, the Pitt Rivers Museum and the Cambridge Museum of Archaeology and Anthropology. A number of works from the collection of the National Museum of Australia will be shown, including the masterpiece ‘Yumari’ by Uta Uta Tjangala. Tjangala was one of the artists who initiated the translation of traditions of sand sculptures and body painting onto canvas in 1971 at Papunya, a government settlement 240km northwest of Alice Springs in the Northern Territory. Tjangala was also an inspirational leader who developed a plan for the Pintupi community to return to their homelands after decades of living at Papunya. A design from ‘Yumari’ forms a watermark on current Australian passports.

This exhibition has been developed in consultation with many Aboriginal and Torres Strait Islander individuals, Indigenous art and cultural centres across Australia, and has been organised with the National Museum of Australia. The broader project is a collaboration with the National Museum of Australia. It draws on a joint research project, funded by the Australian Research Council, undertaken by the British Museum, the National Museum of Australia and the Australian National University. Titled ‘Engaging Objects: Indigenous communities, museum collections and the representation of Indigenous histories’, the research project began in 2011 and involved staff from the National Museum of Australia and the British Museum visiting communities to discuss objects from the British Museum’s collections. The research undertaken revealed information about the circumstances of collecting and significance of the objects, many of which previously lacked good documentation. The project also brought contemporary Indigenous artists to London to view and respond to the Australian collections at the British Museum.

Neil MacGregor, Director of the British Museum said, “The history of Australia and its people is an incredible, continuous story that spans over 60,000 years. This story is also an important part of more recent British history and so it is of great significance that audiences in London will see these unique and powerful objects exploring this narrative. Temporary exhibitions of this nature are only possible thanks to external support so I am hugely grateful to BP for their longstanding and on-going commitment to the British Museum. I would also like to express my gratitude to our logistics partner IAG Cargo and the Australian High Commission who are supporting the exhibition’s public programme.”

Source: The British Museum [April 23, 2015]

The Maya are one of the oldest cultures in the world. This exhibition is all about the magnificent artistic forms of expression of the Maya. With a collection of around 300 works of art, including many Mexican national treasures, it displays the fundamental aspects of pre-Hispanic art: the body and the physique are central to this exhibition.

The Maya present their vision of life using various materials and techniques from their daily life, splendid buildings and works of art. They describe their relationship with gods, their everyday existence, their literature, their astronomy, their music and their dances. What often dominates these works is an idealised notion of humanity, which the Maya retained not only in their conception of humans and the ideal of beauty, but also in the location of mankind in the cosmos.

The exhibition will run until 7 August 2016.

Source: Martin-Gropius-Bau [July 12, 2016]

Palazzo Strozzi is presenting The Springtime of the Renaissance. Sculpture and the Arts in Florence, 1400-1460, an exhibition which sets out to illustrate the origin of what is still known today as the “miracle” of the Renaissance in Florence predominantly through masterpieces of sculpture, the form of figurative art in which it was first embodied. Following its debut in Florence, where it is on view from 23 March to 18 August 2013, the exhibition will be shown at the Musée du Louvre in Paris from 26 September 2013 to 6 January 2014.

The lengthy preparation that has gone into the staging of the exhibition, which is curated by Beatrice Paolozzi Strozzi, director of the Museo Nazionale del Bargello, and Marc Bormand, curator-in-chief of the Département des Sculptures in the Louvre, has been accompanied by an extensive restoration campaign in both Italy and France with joint funding from the Fondazione Palazzo Strozzi and the Louvre. Visitors to the exhibition are able to admire many Renaissance masterpieces, including works by Ghiberti, Donatello, Dello Delli, Filippo Lippi, Nanni di Bartolo, Agostino di Duccio, Michelozzo, Francesco di Valdambrino and Mino da Fiesole, in their newly-conserved splendour.

One of the most significant projects undertaken for this exhibition is the conservation of Donatello’s imposing bronze statue depicting St Louis of Toulouse, 1425, from the Museo dell’Opera di Santa Croce where it has been throughout the restoration in a workshop especially set up in the museum and open to the public. The conservation was entrusted to Ludovica Nicolai, who was responsible for restoring Donatello’s David in the Bargello, with the assistance of the Opificio delle Pietre Dure’s scientific laboratory. The procedure was directed by Brunella Teodori, Soprintendenza Speciale PSAE e per il Polo Museale della città di Firenze.

The exhibition will be presented in ten theme-based sections.

Section I: The Legacy of the Fathers

The exhibition opens with an intriguing overview of the rediscovery of the classical world with some splendid examples of the 13th and 14th century works by Nicola and Giovanni Pisano, Arnolfo, Giotto, Tino di Camaino and their successors, who also assimilated the expressive richness of the Gothic style, in particular from France.

Section II: Florence 1401. The Dawn of the Renaissance

The ‘new era’ coincided with the start of the new century and is represented in the exhibition by two panels depicting the Sacrifice of Isaac by Lorenzo Ghiberti and Filippo Brunelleschi from the Baptistry doors, and Brunelleschi’s model for the cathedral dome. At that time, the writings of the great Humanists, singing the praises of the Florentine Republic’s political achievements, its economic power and its social harmony, were spreading the legend of Florence as heir to the Roman Republic and as a model for other Italian city-states.

Section III: Civic and Christian Romanitas

Monumental public sculpture, through the masterpieces of Donatello, Ghiberti, Nanni di Banco and Michelozzo, created for the city’s major construction sites – the Cathedral, the Bell Tower, Orsanmichele – is the first and loftiest expression of the transformation under way and of the triumph of Florence and its civilisation.

Section IV: “Spirits” Both Sacred and Profane; Section V: The Rebirth of the Condottieri

The exhibition also sets out to illustrate the other themes of classical antiquity that were assimilated and transformed through sculpture in this new Renaissance language, which lent its voice not only to the city’s creative fervour but also to its spiritual and intellectual mood.

Section VI: Sculpture in Paint

Sculpture, and more especially statuary, was thus to have a tremendous impact on the painting of the leading artists of the time, men such as Masaccio, Paolo Uccello, Andrea del Castagno, Filippo Lippi and Piero della Francesca.

Section VII: History “in Perspective”

The search for a “rational” space and Brunelleschi’s discovery of perspective were implemented in the most advanced forms in the art of sculpture, in Donatello’s bas-reliefs – for instance in the predella of his St George from the Bargello or in his Herod’s Banquet from the Musée des Beaux-Arts in Lille. This echoed well into the middle part of the century in the work of Desiderio da Settignano and Agostino di Duccio in an ongoing dialogue/debate with painting, including that of the classical era.

Section VIII: The Spread of Beauty

From the 1420s onwards, the new standards of sculpture perfected by the great masters and illustrated in the exhibition by several masterpieces such as Donatello’s Pazzi Madonna from Bode Museum in Berlin, the Kress Madonna from the National Gallery in Washington, and the Madonna from the Diocesan Museum of Fiesole attributed to Brunelleschi, spread out via a seemingly endless output of bas-reliefs for private devotion (in marble, stucco, polychrome terracotta and glazed or “Della Robbia” terracotta), which fostered the widespread propagation of a taste for the ‘new’ beauty in every level of society.

Section IX: Beauty and Charity. Hospital, Orphanages and Confraternities

At the same time, the most prestigious artistic commissions in Florence, which were almost always from public entities, began to focus on venues of solidarity and of prayer (churches, confraternities and hospitals), where sculpture once again played a primary role.

Section X: From City to Palace. The New Patrons of the Arts

Thus, arranged around the city’s absolute symbol – the wooden model of Brunelleschi’s Cupola for Santa Maria del Fiore – the exhibition offers a retrospective of themes and types of sculpture that were also to have a crucial impact on the development of the other figurative arts, in a direct debate with their classical predecessors, from the tombs of the Humanists, to the inspiration provided by ancient sarcophagi, to the rebirth of the equestrian monument and the carved portrait. The carved portrait, which became popular towards the middle of the century – in the marble busts of Mino da Fiesole, Desiderio da Settignano, Antonio Rossellino and Verrocchio – heralds the transition from the fiorentina libertas, represented by public patrons, to the private patronage that already bore the mark of the Medici family’s impending hegemony. This transition is effectively captured in the culmination at the end of the exhibition with the Wooden Model of Palazzo Strozzi, the most illustrious private residence of the Renaissance.

Source: Palazzo Strozzi [March, 2013]

Ray Rice of the Baltimore Ravens secures his place in history as not only a member of Super Bowl XLVII Championship team but the latest member of the Got Milk? Milk Mustache family.

Rice is featured in the 17th annual national Milk Mustache "got milk?" Campaign Super Bowl winner ad, as he celebrates his win with a protein-packed breakfast. An 8 oz. glass of milk is packed with nine essential nutrients, including eight grams of high-quality protein. Protein at breakfast can help power you through the morning.

The print ad is featured in today's USA Today, the joint ad copy reads, "Now that it's over, there's only one thing I want to do. Repeat. But next season, every other team will be chasing us. So I fuel up to play 60 with the protein in milk. This morning and every morning. That's worth repeating, too."

Deutsch, A Lowe and Partners Company, is the creative agency for the National Milk Mustache "got milk?" Campaign.

The Handshakes commercial explores how New York Yankee Robinson Cano's friendly and creative handshakes with ESPN staffers and SportsCenter anchors enable the quick spread of the common cold across the ESPN campus in Bristol.

Credits:
Agency: Wieden + Kennedy New York
Director: Jim Jenkins
Production Company: O Positive
CD: Brandon Henderson
CD: Stuart Jennings
CW: Charles Hodges
AD: Gary Van Dzura

EP: Temma Shoaf
Producer: Kelly Dage
ECD: Scott Vitrone
ECD: Ian Reichenthal
EP: Marc Grill
Line Producer: Marc Grill
Director of Photography: David Morabito
Editorial Company: Joint Editorial NYC
Editor: Andrew Robertson
Post Producer: Michelle Carman
Post Executive Producer: Patty Brebner
Assistant Editor: Eric Schoenbrunn
Colorist: Tim Masik
Company: CO3
Artist: Kevin Quinlan
Company: The Mill

The J. Paul Getty Museum today placed on view a Decree Relief with Antiochos and Herakles, the first Greek loan to arise from a 2011 framework for cultural cooperation between the Getty and the Hellenic Republic Ministry of Culture.

The relief takes the form of a stele, a stone slab decorated with images and text, crowned with the figures of Herakles and his son Antiochos, who was the mythical hero of the tribe Antiochis. Herakles is depicted as an athletic nude, holding a club and the pelt of the Nemean Lion he vanquished, referring to the first of the twelve labors he had to perform. Seemingly the elder, Antiochos wears a dignified mantle and holds a staff (no longer visible, but probably added in pigment). Both father and son heroes were the subject of cult worship, and are shown standing within a small temple framed by columns and a pediment.

Written in ancient Greek below the figures, an inscription describes the honors bestowed upon Prokleides by his soldiers and comrades, all members of an elite infantry corps known as the epilektoi. This is the earliest known inscription referencing the epilektoi, a group of men bound together by their military service, participation in sacrifices and theatrical performances, and membership in the Athenian Council. According to the decree, Kephisokles of the village of Alopeke proposed the resolution to praise Prokleides, who “has well and with distinction taken care of security,” and crown him with a gold diadem worth at least 1,000 drachmas (an enormous sum, considering the average worker in classical Athens could support a family of four on one drachma a day).

Soon after arriving at the Getty, the stele was photographed using a technique that captures the object numerous times with varying degrees of raking light. The resulting composed image reveals the shallow lettering with unprecedented depth and clarity and enables a more accurate reading of the inscription. A transcription of the ancient Greek text, translation, and detail photography of the historical inscription accompanies the installation.

“The Antiochos relief commemorates the affection and respect of troops for their commanding officer,” explains Claire Lyons, acting senior curator of antiquities at the Getty Villa. “We are delighted that it will be on view at the Getty Villa in time for Memorial Day, when we honor the contributions of fallen soldiers to their communities and country.”

This long-term loan results from the Framework for Cultural Cooperation signed in September 2011, which provides for joint scholarship, research projects, loans, and exhibitions between the Getty and the Hellenic Republic. “As part of this framework of cooperation between the Hellenic Republic Ministry of Culture and the Getty Museum, we are pleased to have the Antiochos relief on display at the Getty Villa,” said Maria Vlazaki-Andreadaki, director general of archaeology in Athens. “We believe that this collaboration will promote classical studies in the United States and will spread the values and the spirit of ancient Greek civilization.”

Historical Background

The relief was discovered in 1922 in the foundations of a house in the Athenian neighborhood of Dourgouti. In antiquity, the area was known as Kynosarges and was the site of a public gymnasium and a sanctuary of Herakles, the greatest of the Greek heroes. Believed to have stood in this sanctuary, where several other inscriptions mentioning the tribe Antiochis were found, the relief was a votive dedication erected in a prominent public location befitting a successful military leader.

The Antiochos relief is a primary document of democracy, and the language of its inscription shows that voting and public speech were deeply ingrained in civic life two centuries after the foundation of democratic political institutions in Athens.

The creation of the Attic tribes was the most important feature of the revolutionary reorganization of Athenian politics that followed the overthrow of the tyrants in 508 B.C. In this system, ten tribes composed of approximately 3,000 citizens and their families were created. Each tribe was assigned the name of a mythical Athenian hero: Antiochos was the eponymous hero of the tribe Antiochis.

Drawn from villages in three distinct zones of the Athenian territory—the coast, the inland farming region, and the urban/suburban zone—the tribes represented the entire citizenry of Athens. Josiah Ober, Professor of Political Science and Classics at Stanford University, observes: “Imagine a reorganization of the United States that would require citizens from Maine, Texas, and California to work, fight, and feast together on a regular basis. The communities constituting the tribe of Antiochis included Alopeke, the philosopher Socrates’ home village—so we might even imagine that a descendant of Socrates as among the signatories to the decree.”

Source: J. Paul Getty Museum [May 23, 2012]

The SportsCenter cafeteria has a new chef and Henrik Lundqvist is the only person that can understand him.

This funny ad from ESPN's This Is SportsCenter popular ad campaign features New York Ranger star goalie Lundqvist and a Swedish character from The Muppets was created by ad agency Wieden + Kennedy, New York.

Credits:
Agency: Wieden + Kennedy New York
CD: Brandon Henderson
CD: Stuart Jennings
Copywriter: Nick Kaplan
Art Director: Jeff Dryer
Executive Producer: Temma Shoaf
Executive Creative Director: Ian Reichenthal
Executive Creative Director: Scott Vitrone
Head of Content Production: Lora Schulson
Prod. Co.: O Positive
Director: David Shane
EP: Ralph Laucella
EP: Marc Grill
DOP: Dave Morabito
Editor: Joint Editorial
VFX: The Mill
Mix: Heard City

Alex Morgan and Devin Hester battle a frigid winter storm in the new commercial "Frozen" for Nike Hyperwarm and Dick's Sporting Goods.

Credits:
Agency: Wieden + Kennedy, Portland
Production: Anonymous Content
Director: Malcolm Venville
Creative Director: Guy Seese
Creative Director: Rob Thompson
Copywriter: Tom Sebano
Art Director: Ken Meyer
Producer: KAREN SPROUL
Executive Producer: Eric Stern
Visual Effects: The Mission
Account Director: Courtney Nelson
Editing Company: Joint Editorial
Agency Producer: Andy Murillo
Editor: Kyle Valenta
EP/Production: SueEllen Clair
Editorial EP: Patty Brebner
VFX Creative Director: Rob Trent
CG Supervisor: Piotr Karwas
VFX EP: Michael Pardee
Flame: Narbeh Mardirossian, Katrina Salicrup
FX: Eric Rosenthal, Tom Lynnes
Animator: Samir Lyons

Cydcor donates gift boxes to US Army

Participation in a life of the US soldiers

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The Strategic Milk Alliance, a new joint venture created by proud dairy farmers across Canada, is pouring out a new communications campaign, titled ‘Milk Every Moment” that reconnects teens and adults to drinking milk. The evocative and heart-warming creative is an ode to childhood that highlights some of the fun yet nonsensical activities people seem to have outgrown, while revealing milk as a timeless pleasure that can be enjoyed at any age.

“Not everything we did when we were kids made sense, but one thing that did make sense was pairing milk with foods such as cookies and grilled cheese sandwiches,” says Dean Lee, executive creative director, DDB Canada. “This campaign is designed to remind people that drinking milk with their favourite foods was great during their childhood and it still tastes just as good now.”

Developed by the integrated groups of DDB Canada’s Vancouver office, the comprehensive national campaign kicks off with a 60-second cinema spot, “Fun” that portrays all the amusing and occasionally illogical activities children would do purely for enjoyment’s sake. The cinema spot depicts familiar moments from childhood when cardboard boxes became hideouts and frosted posts tempted tongues, all by way of reminding viewers of the time when ‘fun’ governed their decision-making. From the ad’s nostalgic illustration of a young girl wearing rubber gloves for shoes to young boys throwing wet paper balls to the ceiling, the ad’s evocative voice-over helps narrate each scene.

All of the young actors are filmed in scenes to portray eras of the 70s, 80s and 90s, which targets and prompts people of all ages to recall their own history of playful antics. Ending the spot is a universal yet calming reassurance: “While not everything we did when we were kids made sense, drinking milk did, and still does.”

“People, as they move into adulthood, are likely to replace milk with other beverages,” says Katherine Loughlin, Manager, Market Development with Alberta Milk. “With the goal of increasing adult and teen milk consumption across Canada, the new campaign reminds people how great milk pairs with certain foods – something they would have known as kids and may have forgotten over the years.”

Three 30-second TV spots, “Fun,” “Heart” and “Curiosity” help to underpin the message, reinforcing the idea that milk used to and can still be the perfect sidekick. Each spot ends with a call to visit www.MilkEveryMoment.ca, where people are encouraged to share content such as favourite milk pairings, recipes, photos and videos.

The website further ignites users’ passion and excitement for milk through contests and community engagement. The first social contest to launch on June 17 will invite Canadians to post and share content of themselves or their children engaging in memorable childhood moments, such as the ones portrayed in the broadcast spots. The content can be shared directly on the website or via Facebook, Twitter, Google+ and Pinterest. Through a series of public voting and editorial considerations, the six-week contest will determine four winners in total: three of them will take home a Polaroid digital camera and one grand prize winner will receive a DSLR digital camera.

Digital, social, print, outdoor, public relations, experiential and shopper marketing round out this integrated campaign by driving traffic to MilkEveryMoment.ca. Each program element creates conversation and interest surrounding milk. This campaign is the first for the Strategic Milk Alliance since forming and signing DDB Canada as its agency of record in July 2012.

Milk Every Moment was launched earlier this week and will run throughout the year with OMD Canada responsible for the media plan.