Nick Dubrule Email & Phone Number

Austin, Tx

Museum-focused business development for on-demand print reproduction and fulfillment together with back-end technology services to support online and offline retail sales channels. Key museum clients include:• The Metropolitan Museum of Art, New York• The Frick Collection, New York• Whitney Museum of American Art, New York• New-York Historical Society• SFMOMA• Fine Arts Museums of San Francisco (de Young and Legion of Honor)• Los Angeles County Museum of Art• The Huntington Library, Pasadena• Philadelphia Museum of Art• The Barnes Foundation, Philadelphia• National Gallery of Art, Washington• Georgia O'Keeffe Museum, Santa Fe (and visitor center in Abiquiu)• Denver Art Museum• Carnegie Museum of Art, Pittsburgh • Cleveland Museum of Art• Detroit Institute of Art• Museum of Fine Arts, Boston• Isabella Stewart Gardner Museum, Boston• Norman Rockwell Museum, Stockbridge• Souls Grown Deep Foundation

As the world's largest internet retailer of posters and framed prints, Art.com hired me to establish a new museum program for them, leveraging the company's online technology -- as well as its on-demand production and fulfillment capability -- into the wholesale institutional sector. Servicing the museums' existing sales channels -- physical and online shops -- the intention was to boost the museum shops' merchandising technology with touchscreen kiosks and online sales tools, providing both instore inventory and drop-ship fulfillment on-demand, all the while introducing museum visitors to the Art.com brand and its quality of service. In order to make this possible, I worked with Art.com staff to develop new wholesale and bulk production management workflows, physical signage and online interface standards compatible with diverse institutional environments, a print proofing and color management workflow acceptable to museums, as well as the artist licensing and reporting needed to support third party museum sales. My main responsibility, however, was to develop and manage the museum client relationships and during my tenure, I brought on board the following museums:• Art Institute of Chicago• British Museum• Brooklyn Museum• Fine Arts Museums of San Francisco• George Washington Estate at Mount Vernon• Hearst Castle• High Museum of Art• Museum of Fine Arts, Boston• Museum of Modern Art• San Francisco Museum of Modern Art• Whitney Museum of American Art

Boston, Mass. And London, Uk

With a turnover of $55m, The Art Group was the leading company of its kind in Europe, exclusively providing the art programs of retail chains such as Habitat and Waterstones bookstores, as well as being the primary supplier to IKEA worldwide. My responsibilities included running the North American operation, articulating The Art Group’s US marketing strategy, as well as business development for the company’s new technology program, Art on Demand. The first project of this kind was at Disneyland in 2002 but I was responsible for extending it into the museum environment, partnering with institutions to create on-going programs. I established programs at The Metropolitan Museum of Art and the Museum of Modern Art in New York; in Washington: The National Gallery of Art and the Smithsonian Institution; in San Francisco: the de Young Museum and the Legion of Honor -- as well as the Walker Art Center, the High Museum of Art and the Museum of Fine Arts Boston. My other responsibilities include securing US-based content for the company’s worldwide publishing program as well as for new media initiatives. Examples include collaborative relationships with publishers such as Chronicle Books (licensing in and licensing out) and negotiating major publishing programs with William Wegman, the Robert Mapplethorpe Foundation and the Estate of Jean-Michel Basquiat, all of which include touring exhibitions worldwide.

Boston, Mass.

With a primary focus on buildings for the cultural and educational sector, Schwartz/Silver’s collaborative approach to design results in an unconventionally diverse range of architectural solutions. When I arrived at the firm, what should have been its asset had become a liability. That is because mainstream design culture values the recognizable “voice” of a single designer and a uniform “signature style” as the hallmark of design authority. Despite widespread peer recognition for the excellence of their work, Schwartz/Silver had been unable to win projects beyond the local region. My principal contribution was to cultivate the collaborative team approach in marketing and PR as well and help articulate a compelling and coherent story about the firm’s work that made diversity and collaboration its design strength. I edited, produced, and negotiated the publishing contract for the firm’s first book, Schwartz/Silver: Arguments for Building, with essays by Aaron Betsky and Carlo Paganelli (Milan, 2001). I also contracted architectural photographers and graphic designers for new marketing collateral, introduced new methodologies for on-demand printed marketing materials and led the development of a new website for the company. Most importantly, I worked with the team to develop the presentation strategies and materials that helped them win national prestige projects such as the Princeton University Humanities Center and the award-winning Shaw Center for the Arts, a new art museum for Baton Rouge.

During my tenure the company transitioned from being a poster publisher with a turnover of $12m to a calendar publisher of $17m with significant programs in posters, cards and other gift products. My responsibilities not only included conceiving and packaging publishing projects, but also business development and key account management: negotiating licenses and fostering relationships with institutions and corporations as well as artists and photographers. Overseeing about one hundred projects a year, including in-house production and design teams, I was successful in establishing publishing programs with major licensors including multi-product publishing programs with, among many others: The Barnes Foundation (their first commercial license), the Guggenheim Museum, the National Gallery of Art in Washington, the Tate Gallery, the Victoria & Albert Museum, the Réunion des Musées Nationaux, Disney Art Editions, Chronicle Books (their first bulk card license), Felix the Cat, Babar, Curious George, The Pink Panther (MGM), Elvis Presley Enterprises, James Dean (Curtis Mgmt), LIFE Magazine, Cirque du Soleil, the Fornasetti workshop in Milan, David Hockney (his first commercial print program) and Henri Cartier-Bresson.

Ma, Fine Art

Ba Hons, Fine Art