The case film. The statue itself is the campaign; the film is just the record of it.
An asset manager arguing for more women on boards has no natural audience and no stage. But there was already a monument to Wall Street's self-image standing in the street, with a permanent crowd photographing it every day.
Do not build your own monument. Stand a small girl in front of theirs and let the existing one become your antagonist.
The Stupid/Smart of it
Stupid: An entire flagship campaign is one small statue, with no media buy, whose meaning depends completely on a piece of public art the client does not own, made by an artist it did not consult, on ground it does not control, on a permit that expires in seven days.
Smart: It is a fight the opponent cannot win. Any attempt to remove her reads as the financial establishment removing a little girl for being defiant, which is a better story than the original. The scale gap is the argument, so the message needs no copy.
The steal: before you build an audience, look for an argument that already has one. Somebody else's monument, ritual, queue or landmark is a stage you do not have to pay for.
Straight talk, because this one has a tail: State Street settled a gender and race pay discrimination claim for around five million dollars seven months later, the Charging Bull's sculptor objected publicly and legitimately, and there was later litigation involving the girl's sculptor. Four Cannes Grands Prix and a genuinely complicated afterlife.
The stare. Everything the campaign wants to say is carried by a child's chin angle relative to a bull.
Act-poweredIt had to physically be there, overnight, unannounced. Has to be seen to work.
The devices behind this one, from our library of ways in: