Y&R’s BrandAsset® Valuator (BAV) is our proprietary brand management tool and global database of consumer perceptions of brands. For the past 20 years, we have studied consumer response to more than 50,000 brands from hundreds of categories in 51 countries around the world. And collected data from close to 1 million people.
Analysis of HTC company : SWOT analysis , BCG matrix, Strategic analysis, Porter's Competitive Five Forces Model, Organizational Structure, Recommendation
Full report available in following link
http://jasimae.blogspot.com/2014/05/executive-summary-htc-transformed.html
A project that I mainly contributed to, which tries to analyze the brand of HTC and its growth potential. The model adopted was Y&R Brand Asset Valuator in order to predict which stage is the brand in within its lifecycle.
The mobile industry in India seems to be growing prodigiously. That’s evident from our half-yearly mobile phone landscape reports as well, since the number of phones being launched in the country has increased year-on-year. Up until now that is. The year 2016, so far, seems to be defying the trend as the number of launches declined for the first time in three years. Not just that, the first half of the year was quite different as compared to previous years, be it in terms of shifting consumer preferences for price segments, or Chinese brands giving stiff competition to indigenous and established multinational manufacturers.
So, here's a comprehensive look at the state of affairs in the Indian mobile phone industry in H1 2016.
Today, abstract painting is regarded as a key style. Celebrated for its avant-garde aesthetic and pioneered by many painters, the abstract genre represents a pivotal moment in modernism.
AGNY Study Pack # 1Tenth Street Studios, 51 West 10th .docxgalerussel59292
AGNY Study Pack # 1
Tenth Street Studios,
51 West 10th 1857-1956
2
The Heart of the Andes, 1859 Frederic Edwin Church
3
William Merritt Chase, Interior of the Artist’s Studio, 1882
4
James Abbott McNeill Whistler, Nocturne in Black and Gold: The Falling Rocket, ca. 1875
5
Cassatt, Little Girl in a Blue Armchair, 1878
6
Tanner, View of the Seine Looking Toward Nôtre Dame, 1896
7
Romaine Brooks,
Self-Portrait, 1922
8
Hopper, Steps in Paris, 1906
9
Edward Hopper: The Paris YearsFebruary 22 - June 1, 2003ハEdward Hopper was the J.D. Salinger of American painters, an extremely private man who granted few interviews. Much of what scholars know about his work comes from his wife Jo Nivison-Hopper's journals. Edward Hopper: The Paris Years, organized by the Whitney Museum of American Art of New York, provides a tantalizing look at the early work of one of America's best known figurative painters. The exhibition of 45 paintings and 10 works on paper opens at Charlotte, NC's Mint Museum of Art on February 22 and runs through June 1, 2003. (left: Edward Hopper (1882-1967), Steps in Paris, 1906, oil on wood, 13 x 9 3/16 inches, Collection of the Whitney Museum of American Art, New York, from a 1970 bequest from Josephine N. Hopper)Hopper said little about even his most accomplished paintings, believing the work should speak for itself. Scholars have been left to speculate on influences on his career, from his realist art instructors Robert Henri, William Merritt Chase andKenneth Hayes Miller at the New York School of Art to the psychological reaction of a young man raised in a small town coming to grips with isolation and loss of community in the urban modern age that was New York City at the turn of the century. The answer may be found in Paris, in verse rather than on canvas. (right: Edward Hopper (1882-1967), Notre Dame, No. 2, 1907, oil on canvas, 23 1/2 x 28 3/4 inches, Collection of the Whitney Museum of American Art, New York, from a 1970 bequest from Josephine N. Hopper)Edward Hopper's early talent for drawing and painting was encouraged by his mother Elizabeth. The family's middle class concern for his future financial security influenced Edward to attend The New York School of Illustrating before transferring to the New York School of Art. Hopper would work more than fifteen years as a commercial illustrator, work that he despised. His skill at painting watercolors, however, is attributed to the years spent as an illustrator. He was able to master strokes with the brush and had a remarkable eye for being able to adjust a composition to where it would have the most immediate anddramatic impact on the viewer.After six years of study at the New York School of Art, Hopper left for France in October, 1906. His Paris studies coincided with an exciting era in the history of the Modern movement. Hopper, however, was untouched by Fauvist and Cubist art popular at the time, continuing instead to follow.
AGNY Study Pack # 1Tenth Street Studios, 51 West 10th .docxjack60216
AGNY Study Pack # 1
Tenth Street Studios,
51 West 10th 1857-1956
2
The Heart of the Andes, 1859 Frederic Edwin Church
3
William Merritt Chase, Interior of the Artist’s Studio, 1882
4
James Abbott McNeill Whistler, Nocturne in Black and Gold: The Falling Rocket, ca. 1875
5
Cassatt, Little Girl in a Blue Armchair, 1878
6
Tanner, View of the Seine Looking Toward Nôtre Dame, 1896
7
Romaine Brooks,
Self-Portrait, 1922
8
Hopper, Steps in Paris, 1906
9
Edward Hopper: The Paris YearsFebruary 22 - June 1, 2003ハEdward Hopper was the J.D. Salinger of American painters, an extremely private man who granted few interviews. Much of what scholars know about his work comes from his wife Jo Nivison-Hopper's journals. Edward Hopper: The Paris Years, organized by the Whitney Museum of American Art of New York, provides a tantalizing look at the early work of one of America's best known figurative painters. The exhibition of 45 paintings and 10 works on paper opens at Charlotte, NC's Mint Museum of Art on February 22 and runs through June 1, 2003. (left: Edward Hopper (1882-1967), Steps in Paris, 1906, oil on wood, 13 x 9 3/16 inches, Collection of the Whitney Museum of American Art, New York, from a 1970 bequest from Josephine N. Hopper)Hopper said little about even his most accomplished paintings, believing the work should speak for itself. Scholars have been left to speculate on influences on his career, from his realist art instructors Robert Henri, William Merritt Chase andKenneth Hayes Miller at the New York School of Art to the psychological reaction of a young man raised in a small town coming to grips with isolation and loss of community in the urban modern age that was New York City at the turn of the century. The answer may be found in Paris, in verse rather than on canvas. (right: Edward Hopper (1882-1967), Notre Dame, No. 2, 1907, oil on canvas, 23 1/2 x 28 3/4 inches, Collection of the Whitney Museum of American Art, New York, from a 1970 bequest from Josephine N. Hopper)Edward Hopper's early talent for drawing and painting was encouraged by his mother Elizabeth. The family's middle class concern for his future financial security influenced Edward to attend The New York School of Illustrating before transferring to the New York School of Art. Hopper would work more than fifteen years as a commercial illustrator, work that he despised. His skill at painting watercolors, however, is attributed to the years spent as an illustrator. He was able to master strokes with the brush and had a remarkable eye for being able to adjust a composition to where it would have the most immediate anddramatic impact on the viewer.After six years of study at the New York School of Art, Hopper left for France in October, 1906. His Paris studies coincided with an exciting era in the history of the Modern movement. Hopper, however, was untouched by Fauvist and Cubist art popular at the time, continuing instead to follow.
Sturtevant (Elaine Sturtevant) is one of the most intriguing artists to emerge from the New York art scene in the 1960s. Her copies of works of art by her contemporaries, such as Andy Warhol, Jasper Johns and Roy Lichtenstein is often taken as part of the Pop Art movement, but in this slide lecture Dr Michael Paraskos argues that the practice is not really related to Pop Art, it is much closer to the disruptive and anarchistic playfulness of Fluxus than Pop. As a woman artist at a time when the art world was deeply misogynistic, Sturtevant suffered neglect as so many women artists have done. But her appropriation of other artists' work to make her own also led to ridicule and accusations of unoriginality and lack of thought which blighted her career.
1. 1st Nov – 29th Dec
Exhibition – Ambiguity
and Obscurity
Hamiltons
Gallery
13 Carlos Place
London
W1K 2EU
U.K.
This exhibition looks at several
pieces of work from Edward
Steichen, Francesca Woodman
and Deborah Turbeville.
Contact us at :
art@hamiltonsgallery.com
Tel – 0207 499 9493/4
FREE ADMISSION
The images would be put under
genre
of
abstract
photography, but it is up to you the
viewer to make your own
interpretation of these works.
Location the
FREE ADMISSION
The title came from the idea that
isolation plays a major role in
todays society. This idea we are
all wall flowers looking on other
peoples lives going unnoticed. We
feel these works express this title
in many different forms.
I hope you enjoy this
exhibition and thank you for
taking the time to read this
leaflet
Kind Regards The Curators of
This Exhibition
2. Deborah Turbeville
Born in 1938 , Massachusetts
Deborah Tuberville has been known
by most for her stylized fashion
photography that was often featured
in Italian Vogue and Harpers Bazaar
during the 60’s and early 70’s.
Through out her photography career
she often reverted to the more art
based photography publishing such
books as Wallflower and Unseen
Versailles which was her more
famous works in the art industry. In
this exhibition their shall be 5 pieces
featured from her project Wallflower.
Through the ghostly and ghoulish
images we get a sense of isolation
and invisibility which is a few of the
key themes touched on in this
Edward Steichen
Francesca Woodman
Steichen was born 27th March 1879 he
was an American photographer, painter
and art gallery curator. He was
considered one of the first published
fashion photographers of the early 20th
century. He had work featured in
Vogue and Vanity Fair. After WW2 He
then went on to be director of the
department of Photography at the New
York Museum of Modern Art until 1962 .
He died 25th March 1973.
Francesca Woodmen was an American
photographer she was born 3rd April 1958 . Her
most well known work is black and white
images with nude ladies with in them. She
wanted to express her views on gender
equality and how she viewed herself. She
studied at the Rhode Island School of Art and
Design. Woodman committed suicide on 19th
January 1981 aged 23. Although she lived her
short life her memories live on through her
spectacular work. Woodman experimented
with exposure and movement within her
images. The single figures in most of her
images facial expressions are
obscured, creating an expressionless being. I
feel that Woodman’s work really conveys a
feeling of isolation and creates this feeling that
the figures are insane.
Steichen's images perfectly convey this
gothic style with the de-saturated
colours and rich tones in the black and
white images. He creates a gloomy
mood,
but
the
objects
and
environments still have their beauty.