Amber Guild is joining Grey’s flagship office in New York as CEO. Grey worldwide CEO Michael Houston had served in that capacity, holding a dual worldwide and NY CEO role for the past two years.
Guild has been a pathbreaking executive in the advertising, publishing and digital media industries for the past two decades. Most recently, she has served in the senior leadership of The New York Times as president of the T Brand portfolio and a prime mover in its global advertising business since 2017.
“Amber has built great brands and businesses across every discipline from advertising and design to social and experiential marketing,” Houston said. “Her experience running businesses at the intersection of creativity and culture make her a natural to lead our growing flagship office. I look forward to seeing her apply her unique skills to deliver the next generation of Famously Effective ideas for our clients.”
Guild will partner with Justine Armour, chief creative officer of Grey New York, and an accomplished senior team, to lead the office.
“Amber’s history as an innovator and marketing influencer speaks for itself. Her accomplishments leading T Brand have expanded the boundaries of advertising,” Armour said. “She is a champion of great ideas and diverse talent and her warmth and vision brings out the best in clients and colleagues alike. I can’t wait to partner with her and see what she brings to Grey New York.”
Innovator and marketing influencer
As president of the pioneering T Brand at The New York Times, Guild led global business units including the branded content studio; experiential agency; influencer marketing agency and consulting unit.
She spearheaded the transformation of the traditional advertising department into a strategic, client-first model. T Brand creative and editorial teams collaborated with clients to lead their brands to engage in culture and conversations that were meaningful to their audiences.
Guild has been an advocate for systemic change in the creative industry to ensure a more equitable and just workplace. Most recently, she co-led the The Times’ Diversity, Equity and Inclusion strategy. This project outlined the importance of a how a diverse workforce, energized by an inclusive culture, will positively impact the work and therefore the bottom line.
Earlier in her career, Guild held high-level leadership positions at The Martin Agency, Collins and T3. She began her career at TBWA/Chiat/Day, Ogilvy and Saatchi & Saatchi.
Guild has served as a board member of Saturday Morning, the 3% Movement, Africa Seed and the VCU Brandcenter.
Review: Malcolm Washington Makes His Feature Directing Debut With “The Piano Lesson”
An heirloom piano takes on immense significance for one family in 1936 Pittsburgh in August Wilson's "The Piano Lesson." Generational ties also permeate the film adaptation, in which Malcolm Washington follows in his father Denzel Washington's footsteps in helping to bring the entirety of The Pittsburgh Cycle — a series of 10 plays — to the screen.
Malcolm Washington did not start from scratch in his accomplished feature filmmaking debut. He enlisted much of the cast from the recent Broadway revival with Samuel L. Jackson (Doaker Charles), his brother, John David Washington (Boy Willie), Ray Fisher (Lymon) and Michael Potts (Whining Boy). Berniece, played by Danielle Brooks in the play, is now beautifully portrayed by Danielle Deadwyler. With such rich material and a cast for whom it's second nature, it would be hard, one imagines, to go wrong. Jackson's own history with the play goes back to its original run in 1987 when he was Boy Willie.
It's not the simplest thing to make a play feel cinematic, but Malcolm Washington was up to the task. His film opens up the world of the Charles family beyond the living room. In fact, this adaptation, which Washington co-wrote with "Mudbound" screenwriter Virgil Williams, goes beyond Wilson's text and shows us the past and the origins of the intricately engraved piano that's central to all the fuss. It even opens on a big, action-filled set piece in 1911, during which the piano is stolen from a white family's home. Another fleshes out Doaker's monologue in which he explains to the uninitiated, Fisher's Lymon, and the audience, the tortured history of the thing. While it might have been nice to keep the camera on Jackson, such a great, grounding presence throughout, the good news is that he really makes... Read More