It’s mind-boggling that Seoul has had 4 deaths while New York City has recorded over 16,000 deaths from COVID-19. Both densely populated metropolises (8+ million inhabitants in NYC and 9+million in Seoul), each had the first reported case on the same day with widely diverging outcomes. Why have the results been so different between the two cities and countries?
As I check the numbers each day on the New York Times map of the virus, it’s hard to comprehend the sadness this data illustration represents. The numbers grow, often adding zeros. Behind each zero are thousands of individual names, fascinating stories, dearly held passions, truncated hopes, an end to the delicate ripples each human life sends out into the world.
There’s a tension that arises so frequently in museums that it seems natural and almost unavoidable: the curatorial team and the marketing (communications) team struggle to get along. Both groups are intimately involved with the customer but what they do with the customer and the nature of that interaction, however, are very different. This can lead to conflict between the two teams that are theoretically working toward the same goal.
In a recent workshop, the following discussion with a curator, in response to my setup that highly functional teams actively work to achieve shared goals, exposed a work dynamic with substantial consequences for organizational effectiveness.
While we've seen a small set of core values brought to life with our clients in the nonprofit and cultural sector, the reality is that core values are for everyone. We were able to test this principle recently running our workshop for the docuseries “Hustle” depicting the struggles of small business entrepreneurs in NYC.
In Friday’s New York Times, David Brooks invokes both marketing and branding as the opener for a column on the Michael Cohen hearings. It is certainly appropriate to invoke these terms in relation to the current President, who is a kind of brand savant, but what troubles me about Mr. Brooks’ use of branding is the unfortunate tendency to equate branding with pretense, to define it as a kind of falsehood that you prepare and wear to cover up the truth.
The promotional campaign for Black Abstract, a recent exhibition at the National Museum of Women in the Arts, shows our work philosophy in action. Whether we are refreshing a visual identity, launching a brand awareness campaign, or promoting an art exhibition, strategy comes before design, placing a premium on including the voice of the customer.
In this follow-up to "Why rebrand?" I’d like to highlight some reasons that do not pass muster. I have seen all of these serve as the primary reason for a rebrand. If you happen to see them, please take it as a warning that the question of “Why” needs closer examination.