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Heather Maitland Presentation


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Heather Maitland Presentation

  1. 1. What does good marketing in the visual arts look like? Heather Maitland
  2. 2. What does good marketing look like? There is huge variation – as with dogs! But why?
  3. 3. These are the must-haves of good marketing: <ul><li>Someone has specific responsibility </li></ul><ul><li>About achieving organisational goals </li></ul><ul><li>Focused on target markets </li></ul><ul><li>Understanding of visitors and participants </li></ul><ul><li>Talking to different people in different ways </li></ul><ul><li>Focus on getting new visitors and building relationships with existing ones </li></ul><ul><li>Finding out whether marketing activity works or not </li></ul><ul><li>Thinking about visitors and participants when programming </li></ul><ul><li>Top level management talks about visitors and participants too </li></ul>
  4. 4. What is good marketing? <ul><li>Organisations have different goals and focus on different target markets who have different needs and use different communication channels </li></ul><ul><li>So different organisations’ marketing should look completely different. </li></ul>
  5. 5. Visual arts marketing in the UK <ul><li>Galleries are often part of museums </li></ul><ul><li>Marketing in the visual arts is often more innovative and creative than in the performing arts sector </li></ul><ul><li>This is because they often have a more sophisticated understanding of visitors </li></ul><ul><li>Hubs have formed around well-resourced museums and galleries in which members share </li></ul><ul><ul><li>resources </li></ul></ul><ul><ul><li>expertise and knowledge </li></ul></ul><ul><ul><li>a national research programme </li></ul></ul><ul><li>BUT… </li></ul>
  6. 6. Local authority museum and gallery budgets are being cut to the bone.
  7. 7. This blog site is pretty much the only marketing this local authority gallery will do for its flagship exhibition in 2011
  8. 8. Understanding visitors But let’s focus on good practice. How does a good understanding of visitors lead to good marketing practice in UK galleries?
  9. 9. Why do they come? <ul><li>60% - 70% of UK visits to galleries are intentional </li></ul><ul><li>So that means 30% - 40% are unintentional. </li></ul>
  10. 10. So a lot of galleries ensure they have a strong presence on the street
  11. 11. THE COLLECTION, LINCOLN <ul><li>The visual art in this museum and gallery is hidden away from the unfamiliar visitor: </li></ul>
  12. 12. The layout of the building leads the visitor into the archaeology collection but the art is hidden both round the corner to the left behind a solid door and in a completely separate building.
  13. 13. And this is the only indication of what’s inside this separate building.
  14. 14. These leaflets on the reception desk are the only indication for the visitor that there is any art to see at all.
  15. 15. MILLENNIUM GALLERIES, SHEFFIELD <ul><li>Contrast that with this gallery where the new development has created a much used short cut between two areas of the town. Like a shopping mall, the gallery spaces lead off the main thoroughfare. </li></ul>
  16. 17. And just inside each space there is something to draw people in.
  17. 18. BALTIC, GATESHEAD <ul><li>This gallery showcases images of visitors on its website, including ones of the entrance way so going in feels more familiar. </li></ul>
  18. 20. Why do they come? <ul><li>They are not exhibition focused: </li></ul><ul><ul><li>71% of Baltic visits are general </li></ul></ul><ul><ul><li>10% of visitors were motivated by a particular exhibition </li></ul></ul><ul><ul><li>76% did not find out what was on </li></ul></ul><ul><li>Almost half (48%) of regular visitors did not use any marketing materials before visiting </li></ul>
  19. 21. So the gallery mainly focuses on the iconic building rather than individual exhibitions
  20. 23. YORKSHIRE SCULPTURE PARK <ul><li>Notice how this gallery on its home page focuses on the experiences visitors might want </li></ul>
  21. 25. Why do they come? Qualitative dimensions
  22. 26. Gerri Morris, of Morris Hargreaves McIntyre, is almost single-handedly responsible for this good understanding of visitors thanks to her qualitative segmentation of visitors based on motivation. Find out more at
  23. 27. social
  24. 28. <ul><li>“ it’s something to do together, something to talk about – we’ve been together 20 years so you need that” </li></ul>
  25. 29. Social <ul><li>Looking for a space where they feel comfortable and can enjoy spending time with friends and family </li></ul><ul><li>Easy and enjoyable experience </li></ul><ul><li>Orientation information </li></ul><ul><li>Good facilities and services that meet diverse needs </li></ul>
  26. 30. intellectual
  27. 31. <ul><li>&quot;I'm very interested in how things are produced, the technical side, techniques ... it's the mystery of how they are constructed or how they are made which interests me most&quot; </li></ul>
  28. 32. Intellectual <ul><li>Seeking to be critically engaged </li></ul><ul><li>Often looking for in-depth focus on a particular artist or movement </li></ul><ul><li>Journey of discovery </li></ul><ul><li>Chance to find out new things for themselves and/or their children </li></ul>
  29. 33. emotional
  30. 34. <ul><li>&quot;I've no idea what I get out of it ... something warm inside ... it's a sense of recognition, of accord ... for example, I find Francis Bacon disturbing, but that's what's great about him ... the reaction inside you ... so it's something that might make me happy or sad. It's something that affects my emotions&quot; </li></ul>
  31. 35. Emotional <ul><li>Hoping to see fascinating and awe inspiring art or objects that will move them emotionally </li></ul><ul><li>Respond to themes and narratives that offer social and emotional connections to their lives and those of the artists </li></ul>
  32. 36. spiritual
  33. 37. <ul><li>&quot;You come out and you feel completely different. It's very liberating. Your mind is on a different plane ... yes I think 'spiritual elevation' is a good term&quot; </li></ul>
  34. 38. Spiritual <ul><li>Seek solace, calm, mental and spiritual uplift, and inspiration </li></ul><ul><li>This may come from the art or the ambience </li></ul><ul><li>Need little interpretation, if any </li></ul><ul><li>Rarely motivated by a particular exhibition </li></ul>
  35. 39. Morris Hargreaves McIntyre <ul><li>The segmentation is based on a combination of exit survey answers to questions about: </li></ul><ul><ul><li>motivation for visiting </li></ul></ul><ul><ul><li>frequency of visit </li></ul></ul><ul><ul><li>familiarity with the venue </li></ul></ul><ul><ul><li>specialist knowledge </li></ul></ul><ul><ul><li>group composition </li></ul></ul>
  36. 41. Segmentation of visitors to the Baltic
  37. 42. How do galleries respond to this?
  39. 44. Multi-layered exhibits are designed to appeal to different segments – which do you think this is aimed at?
  40. 47. WELLCOME COLLECTION <ul><li>Notice that the art in the Wellcome Collection has invaded the entrance lobby. Socially motivated visitors need immediate orientation to feel comfortable so there are information leaflets and maps right by the door </li></ul>
  41. 50. And this must be the most friendly security guard ever, chatting to visitors about what they might want to see as he searches their bags.
  42. 53. BALTIC <ul><li>The Baltic invest huge resources in developing their Crew who interact with visitors here’s an extract from the job advert. </li></ul>
  43. 55. ROYAL ACADEMY <ul><li>The Royal Academy has reduced the number of visitors allowed through in each time slot to improve the experience for emotionally and spiritually motivated visitors. You can’t have an epiphany in spaces like this … </li></ul>
  44. 57. MILLENNIUM GALLERIES, SHEFFIELD <ul><li>This gallery creates physical spaces to enable social interaction </li></ul>
  45. 59. NATIONAL MEDIA MUSEUM <ul><li>And this one has created sheets to help parents and carers engage with their children over the themes of the exhibition – this one is about churches in unexpected buildings </li></ul>
  46. 61. WELLCOME COLLECTION <ul><li>Multi-layered interpretation is also aimed at different segments, from conventional labels to audio clips via exhibits with no interpretation that have to be puzzled over and hidden layers that must be discovered… </li></ul>
  47. 67. NATIONAL MUSEUM OF SCOTLAND <ul><li>This museum uses QR codes to facilitate multi-layered interpretation </li></ul>
  48. 70. Click on the link for one of the many specially commissioned artworks, this one interpreting Scotland’s technological history <ul><li>Scotland: A Changing Nation QR code </li></ul>
  49. 71. YORKSHIRE SCULPTURE PARK <ul><li>This gallery’s website uses crowd-sourcing to develop interpretation that engages visitors </li></ul>
  50. 73. ART HOTEL, TURIN <ul><li>It doesn’t have to cost money. This independent gallery around the walls of a hotel uses iPod shuffles, still in their boxes, to present interviews with artists </li></ul>
  51. 76. NATIONAL MEDIA MUSEUM <ul><li>The segmentation has impacted on marketing messages too. This organisation presents itself as a museum and gallery and as a visitor attraction, depending on the target market. </li></ul>
  52. 79. YORKSHIRE SCULPTURE PARK <ul><li>And this one fills its marketing material with images of visitors that directly reflect the four different motivational groups. Can you match the image to the segment? </li></ul>
  53. 84. What does good marketing look like? <ul><li>[email_address] </li></ul>To this gallery, good marketing looks like the visitors themselves.