“Art in the Streets” is an integrated collaboration in its second year starting in 2011 in LA an extension of MOCA’s wildly popular “Art in the Streets” exhibition. And in 2012 they brought this concept to New York and is featured in Vanity Fair’s December 2012 edition. It is a platform that Cadillac has used to bring to life it’s core ideologies: “bold creativity that surpasses all conceivable expectation, the recognition of great risks as opportunities, and daring ingenuity that breaks down all boundaries.” there is an authentic convergence point between Cadillac’s core messaging and the artists—recognizing risks as opportunities is a hallmark of the Cadillac brand, just as the street artists, through their work, break down and rebuild new paradigms every day. Vanity Fair, as cultural arbiter, originally connected the iconic car brand the artists, a partnership that continues to bring powerful works of art to diverse communities.
This initiative is a truly integrated approach that utilizes relationships such as the MoCALA (2011), extravagant wall scapes (Brooklyn, NY 2012), integrated publisher relationships (Conde Naste – Vanity Fair), significant Instagram initiative/contest that allows you to share you inspirations at #vfstreetart, integrated features in Vanity Fair magazine that utilize Aurasma to continue to explore the experience and an overall beautiful platform for Cadillac to use as a platform for original content creation.
Why I am Curious?
I am curious about well executed platforms such as “Art in the Streets” that express the brand yet provide robust platforms for brands to continually create original and compelling content. Creating these integrated, ownable spaces where brands can authentically interact with on and offline audiences are invaluable. If the platform is broad enough, like “Art in the Streets” the platform can be tapped into year after year.