![]() ![]() It's stirred up some interest and a little controversy, too. "She developed print ads with us and also radio ads," Strick was quoted by the Los Angeles Business Journal: "We see this as a way of both getting the word out about MOCA and the exhibition and bringing art into new and different public spheres … The show's been well attended and people seem very aware of the campaign. ![]() Strick strategically asked Kruger, whose résumé included working as head designer for Mademoiselle magazine, to create the show's advertising. The show also led to the addition of 1,700 new MOCA members. Not only did the Kruger exhibition generate wide acclaim, but Los Angeles critics were also impressed by the show's attendance. Kruger was famous for printing pithy comments such as "I shop therefore I am" upon images of women. To establish himself as an apt leader, in 1999 Strick opened a MOCA retrospective exhibition of the commercial artist Barbara Kruger's work. Because Strick had only been a curator at his previous post at the Art Institute of Chicago, many critics denunciated the new director for his lack of administrative experience. In 1999 Jeremy Strick was appointed the director of MOCA, one of America's largest contemporary-art museums, with a staff of 130 people, 13,000 paying members, and an annual attendance of 450,000. The campaign was one of the most awarded entrants for the 2001 annual International ANDY Awards, where it collected a Gold ANDY and 10 Silver ANDYs. Advertising Age's Creativity awarded "Labels" with one of the magazine's annual Creativity Awards in 2001. As Los Angeles Times writer Christopher Knight explained, "Artists tell me that they hate the MOCA campaign." Nonetheless, the advertising community showered it with praise. Some critics felt that the billboards' message was misunderstood and required too much reading others disliked them completely. The campaign's three television spots featured titles such as "Husband and Wife on a Sofa, A Study of Still Life, 2001," "Remote Control, 2001," and "The Demise of Culture, 2001." The campaign lasted for six months. Above a restaurant's valet parking service, for instance, one billboard's title read, "Men Running with Keys, 2001." Below the title it listed the "medium" as "Restaurants, thick-soled shoes, paper tickets with red ink / Collection of the Museum of Contemporary Art." Similar advertisements appeared across Los Angeles newspapers, outdoor posters, dry-cleaning hangers, and radio spots. Each billboard featured a message relevant to its surroundings. The billboards' copy parodied the description labels that appeared beside artworks in museums. The core of the campaign consisted of 61 billboards across Los Angeles County that featured black copy on white backgrounds. The $1 million campaign, created by the Los Angeles office of ad agency TBWA\Chiat\Day, first appeared on January 1, 2001. Hoping to boost awareness of the museum throughout Los Angeles County, MOCA released "Labels," the largest advertising campaign in its 21-year history. Competing against a variety of entertainment destinations in Los Angeles County that ranged from beaches to baseball games, along with other museums, MOCA's recently appointed director Jeremy Strick wanted to surpass the previous year's 500,000 MOCA visitor count. ![]() The Museum of Contemporary Art, Los AngelesĮven with a $13.5 million operating budget and one of the largest contemporary art collections in the United States, the Museum of Contemporary Art, Los Angeles (MOCA), toiled to draw crowds in 2001.
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