COMMUNICATION IN THE ART WORLD

“BE SMART ABOUT ART”

THE ART OF PROFESSIONAL COMMUNICATION IN THE ART WORLD

BY RUDOLF BEGER

Many references will be made in this paper to the author’s standard-setting guide book: “Present-Day Corporate Communication“, in particular to Chapter 8.8. “ART SECTOR COMMUNICATION” (www.public-relations-pro.com). The literature of these chapters will allow the reader to dig deeper into the subject issue discussed or will put the texts into a broader perspective. References will be made to the Guidebook and its relevant chapters / sub-chapter numbers (example: read Guidebook: followed by (sub-) chapter-No.).

1. THE ART INDUSTRY IS DIFFERENT

The culture & art sector is an industry in the sense that it groups people and institutions, which are active in one specific type of business.

However, different to other more conventional industries the art industry involves activities characterised by

• Creativity,
• Imagination,
• A mix of tangible and intangible goods and, in addition,
• An important influence of subjectivity with corresponding individual or collective judgements.

UNESCO DEFINITION: The UNESCO has defined culture (and art) as “a set of distinctive spiritual, material, intellectual, and emotional features of society or a social group, and that it encompasses, in addition to art and literature, lifestyles, ways of living together, value systems, traditions and beliefs”.

Culture is a social heritage. It plays a significant role in the development of society. The way to bridge between the arts and art consumers, to share culture and art is through COMMUNICATION (read Guidebook: 8.8.1.1.).

In this paper, some of the governing principles of communications in the cultural / arts sector are discussed and some more detailed advice is provided.

2. MAJOR ART SECTOR PLAYERS

Major players in the arts sector include, amongst others:

2.1. ON THE ARTISTIC SIDE

THE ARTIST

Artists are talented people who are engaged in the activity of creating and representing artwork in a multitude of areas, including paintings, drawings, sculptures, pottery, photography, video, film, performances, dance, installations, mixed media and any other medium.

2.2. ON THE COMMERCIAL AND ADMINISTRATIVE SIDE

2.2.1. THE GALLERY

Someone who runs an art gallery identifies artists of interest, chooses artists and artwork and presents it in the gallery for sale. Galleries may specialise in specific areas. A gallery owner or manager’s responsibilities include managing both the creative and business sides of running an art gallery, as well as organizing and preparing / curating exhibitions, private sales and loaning out art. A gallery manager’s skills should include an eye for art, creative flair, an awareness of trends, business, financial, marketing, sales, negotiation and communication.

2.2.2. THE CURATOR

A curator is in charge of a collection of exhibits in a museum or art gallery, and is responsible for assembling, cataloguing, managing, presenting and displaying artworks, cultural collections and artefacts. The skills required to become a curator are, amongst others: Research capabilities, art/cultural history knowledge and awareness, organizational, project management, communication skills and the capability for presenting art / artist to an interested public with a creative flair.

2.2.3. THE ART AGENT

An art agent represents an artist working on their behalf to promote and sell their work. The role involves negotiating individual sales, commissions, licensing deals, as well as organizing publicity, and seeking opportunities such as teaching and workshops. An art agent needs negotiation skills and financial acumen, knowledge in communication / PR, networking and marketing, and an alert awareness of art trends.

2.2.4. THE ART CONSULTANT / ADVISOR

Art consultants, also known as art advisors, act as an intermediary between artists, galleries and auction houses, and buyers by helping art collectors select and acquire art for their home, business, or collection as well as help them sell pieces they no longer require. The skills required include a great eye for art, negotiation and communication skills, the “art of listening”, and knowledge in sales practices, finances and taxes.

2.2.5. THE ART DEALER

An art dealer is a person or company that buys and sells works of art commercially with aim of making a profit. Skills required include a great eye for art, awareness of trends, negotiation, communication and networking skills, and sales, finance and tax knowledge.

2.2.6. THE ART AUCTIONEER

An art auctioneer works on behalf of their clients to sell pieces of art for the highest possible price. The art auctioneer is responsible for setting the (estimation) price of the artwork. Art auctioneers need to be active in the arts by attending art exhibitions at galleries and museums, as well as attending art lectures and other related professional events to keep a high level of knowledge and insight into a dynamic market. To be an art auctioneer one has to have knowledge in art history relevant to their area of expertise, expertise in art research, art valuation and art marketing as well as in business and interpersonal skills.

2.3. ON THE SCIENTIFIC SIDE

2.3.1. THE ART VALUER

Similar to an art auctioneer an art valuer gives advice on how much a work of art or a collection of art is worth. Like art auctioneers, art valuers need to be active in the art world, for example, by attending art exhibitions at galleries and museums, as well as attending art lectures and other related professional events. To be an art valuer, experience in art research, art history, the (international) art markets communication and financial affairs are needed.

2.3.2. THE ART CONSERVATOR

Art conservators are responsible for restoring, preserving and analysing artefacts and works of art. Art conservators tend to specialise in particular types of objects or materials such as books, paintings, sculptures or textiles. An art conservator must have experience in art research, art and cultural history and, of course, extensive technical skills and a deep knowledge in materials and relevant products.

2.3.3. THE ART HISTORIAN

Art historians study art created in the past, learning about artists’ lives and their societies, understanding the context in which art was created and seeking to interpret and understand these works of art for the preservation of future generations. Art historians must have a deep knowledge and experience in academic research, art and cultural history, fine arts, analytical skills and a writing talent.

2.4. ON THE ART CUSTOMER SIDE

2.4.1. THE ART CRITIC

An art critic specializes in interpreting, analyzing and evaluating art. Art critics produce written critiques or reviews that are published in newspapers, magazines, books, exhibition brochures and catalogues and well as online (e.g. websites and blogs). Art critics can become highly influential and can make or break artists’ careers simply by using their words. Skills required for art critics include market knowledge, writing, editing and analytical talents.  

2.4.2. THE ART COLLECTOR

Art collectors are art lovers who connect with, are devoted to the arts or artist(s) and who develop a certain expertise in the field of art they are specifically interested in and who establish a collection either based on a concept, or based on emotions. Most art collectors are people who love and value the pieces that they purchase. They want to live with art and appreciate it on a regular basis.

2.4.3. THE ART LOVER

Art lovers are those people who feel attracted by and have an interest in the arts without necessary being collectors / art buyers.

2.4.4. THE ART TOURIST

Similar to art lovers but many art tourists are not really interested in the arts but feel attracted by the social events surrounding the presentation of artwork. They see, for example, gallery openings more as a social event at which they can meet people and get free drinks and snacks than an opportunity to be introduced to artistic work.  

3. EFFECTIVE ART COMMUNICATION

It cannot always be assumed that “art speaks for itself”. Therefore, even successful artists should be keen on articulating their creative vision professionally. Frequently, creative people can be weak in communication as many of them are introverts, some of them egocentric or even arrogant. They risk being misunderstood, rejected or are missing opportunities when they ignore the fact that generally they are the most credible advocate for their own work.

Successful communication by an artist or his representative (normally an art gallery) is to speak effectively and in a comprehensible language about artwork.

3.1. PRINCIPLES

3.1.1. KEY ELEMENTS OF COMMUNICATION IN THE ARTS FIELD

3.1.1.1. STORY, RELEVANCE AND VALUES

The above-referenced additional complexity of communication in the arts market is best dealt with when developing a communication concept the following three elements are considered:

• Art gallery managers must generate relevant “stories” (reference);
• “Communities” should be developed around art events (reference), and
• “Dialogue” with relevant audiences must be generated with the objective of creating curiosity, interest, understanding and, if possible, a certain hype in the relevant arts audiences (read Guidebook:).

In addition developing a “story”, a communication practitioner in the arts field should deal with two additional elements of a sound communication concept: “Relevance” and “values”.

3.1.1.1.1. THE STORY

For many people, the concept “art for art” (“l’art pour l’art”) is not enough. The art audiences expect a contribution by the artwork / either to the community or to the prevailing cultural life in general or specifically. Key elements of such a contribution are a story, which is relevant for the targeted audiences and which is carrying values. 

While a great piece of art will attract a buyer, a great story will sell it. There are many artists who feel they should let the art speak for itself. This ignores an important human interest in narrative. While each buyer is going to bring their own interpretation to a work of art, they are also interested in the artists or an art expert’s inspiration. Some art lovers particularly want to understand the process for creating the artwork. What the artist or the art expert tell them about the art piece will become a part of the narrative people share with friends, family and business associates who see the art in their home or office.

The story and its angle (frequently called the “hook”, read Guidebook: 1.3.5.2.; 8.4.7.9.) must be developed in consideration of all multipliers’ (read Guidebook: 2.5.1.1.) and social media influencers’ (rad Guidebook: 2.5.1.1.; 6.3.4.1.; 6.3.5.; 8.7.4.4.) needs. It needs to be asked, for instance, what specialised art journalists want and are interested in and which story will trigger their attention in the growing information overload (read Guidebook: 1.3.5.; 6.3.3.2.). The answers to the questions will influence the content of the pitch (read Guidebook: 3.2.2.2.; 3.3.2.6.).

Digitalization and the universal access to the Internet (read Guidebook: 3.3.), has substantially changed professional communications. The development has gone away from traditional “one-way communication” towards “two-way communication” (read Guidebook: 1.3.3.; 3.1.2.; 3.3.1.1.; 3.3.2.1.; 3.3.3.2.; 7.16.2.4.). This is in particular the case in the art world, in which the creative development of “stories” and narratives in which the “human factor” (the artist) is central.

Finally, it is important to use online channels to tell a compelling story in relation to the artwork, artist and gallery in the same way one would do offline. The cost of getting into the online game is so much lower than ever before and the know-how of layman users has grown in a way that the barriers to entry for galleries have more or less disappeared.

3.1.1.1.2. THE RELEVANCE

Once the artist has a particular, unique and interesting story to tell and the story is professionally developed, it can help to attract the specialised media and relevant audiences’ attention. The condition is, however, that the story is relevant for the target audience. It can frequently be observed that art projects and works are solely explained from the point of view of the artist and / or his representatives. This is fine as long as the story connects with the audience. The risk is that it does not in case no balance is found between the importance of the cultural experience, in general, the artwork, in particular, the artist and his gallery, on the one hand, and the interest and expectations of the audiences (art lovers, collectors, art critics, etc.), on the other hand. 

3.1.1.1.3. THE VALUES

When one talks about value in this context, it is not only the monetary value, which is referred to but also the spiritual value and the value of an artwork in the context of an art movement or as part of an artist’s lifelong work. Value in this sense is a key element of an artwork’s or cultural project’s identity and appreciation. It is its inherent value what will make an artwork or an art project stand out and gain special appreciation. 

EXAMPLE: A highly talented German artist who lived in Munich in the nineteen hundred thirties and forties was banned from working under the National Socialist regime because his art was defamed as “degenerated art”. A large part of his secretly painted paintings burned in his studio during the allied bombing raids on the city during WWII. After the war the artist could only paint a few pictures before his death. Today these remaining paintings are scattered all over the world in private collections and are hardly or not at all known to the broad public interested in art. Only the work of an art historian saved the painter from oblivion. Against the background of his destroyed work, the small remainder of rescued paintings has gained a special (inner) value, which may not necessarily be reflected in the selling price but in the appreciation of a knowledgeable collector or art historian.

One of the additional attractions of artwork is that beyond the emotional attachment to a piece of art, the object is generally more likely to keep its value compared to most consumer products. In some cases, the value can even grow, which is some collectors’ dream or speculation when they see art merely as a good investment. For other art collectors it is a combination of all, beauty, investment and lucky chance.

3.1.1.2. JARGON (read Guidebook: 3.2.4.1.; 3.2.4.2., 7.10.8.; 8.8.1.2.)

Often art experts use a screwed, high-sounding or artificially intellectualized language. This happens under the premise that art is destined for an intellectual minority in which it is communicated in a language that is incomprehensible to outsiders. Proper communication should avoid the typical “art speak”, which frequently comes with the art world. Art should be accessible and enjoyable to everyone rather than confusing people with strange words and exotic phrases or languages. Under the following website address one can find a guide which aims at helping art lovers, collectors and laymen to understand some terms which they may be unfamiliar with (https://affordableartfair.com/inspiration/glossary-of-art-terms/).

However, this will not help with narratives used by some gallery managers, artists and art experts, some of which need to be read three times or remain totally incomprehensible. This is neither helpful nor understandable as clear thoughts and concepts can easily be expressed in relatively simple language. If a text becomes a mystery, it is a signal that the author is either pretentious or vane or in love with his own words rather than interested in bringing his message across. 

EXAMPLE 1: “There is a gap in the existing research on narrative by describing narrative as a form of intersubjective process of sense-making between two agents, a teller and a reader. It argues that making sense of narrative literature is an interactional process of co-constructing a story-world with a narrator. Such an understanding of narrative makes a decisive break with both text-centred approaches that have dominated both structuralist and early cognitivist study of narrative, as well as pragmatic communicative ones that view narrative as a form of linguistic implicature. The interactive experience that narrative affords and necessitates at the same time serves to highlight the active yet cooperative and communal nature of human sociality, expressed in the many forms than human beings interact in, including literary ones”.

EXAMPLE 2:….seeking a new artistic language that would combine the spiritual and the physical, the solid and the fluid, the ephemeral and the permanent, a melding of the rational and the instinctual, or of the human and the animal minds out of a primordial state of organic chaos.

3.1.1.3. CONTENT (read Guidebook: 2.6.; 2.9.5.4.;3.3.1.5.; 3.3.1.;3.3.3.; 3.3.4.2; 4.1.5.4.; 8.4.7.1.; 8.7.3.1.; 9.5.2.)

In communications, one has to establish, develop and spread dialogue (reference). In the field of culture and art, dialogue starts with “content”. We should be able to explain the content as much as possible and deliver it to different audiences

Quality content is also important and new hashtags have to be created. This will only be possible, when there is a clear focus on quality content that people are prepared to share.

A hashtag (read Guidebook: 3.3.2.5.; 8.4.7.8.; 8.4.7.9.) that is linked to informative posts will make the chances for getting trendy much higher.

3.1.1.4. MASS CONSUMPTION

A new development, which has to be taken into account when planning communication in the art field is, that in the world of art, cultural consumption has developed much more towards mass consumption than in the past.

Today, more music is heard and more videos are watched in an increasingly effective and diverse way. New technologies and tools allow easy access, new platforms, new formats, direct interrelations between artists and their audiences, and combine face to face contact with online contact and individual experiences with group experiences.

3.1.1.5. KEY AUDIENCES AND COMMUNITY BUILDING

In times of increasingly quick constant change, one needs to know who the key audiences are, what they do, and what trends influence their thinking in order to communicate with them effectively (read Guidebook: 2.5.; 2.5.1.; 3.2.4.1.; 3.3.2.6.; 3.3.4.2.; 8.2.3.4.; 8.4.5; 8.4.7.9.; 8.8.1.4.; 8.10.5.5.; 9.3.4.). There are a number of questions, which help understanding key audiences:

• Who are the key audiences, based on socio-demographic data?
• Why are they interested in the arts?
• Are they art collectors or art professionals or just art lovers? What are their motivations to be interested in the arts and what interests and expectations do they hope to get fulfilled?

Based on the responses to these questions the audiences should be segmented (for instance into art professionals and art lovers). An effective segmentation could for instance also be the frequency of interaction with the gallery: How often does the group consume arts and culture? This can help distinguishing between new, sporadic, recurrent and frequent audiences, which will provide additional information about how to relate to this specific group:

• What art style, related gallery services and gallery activities might interest them the most?
• What kinds of gallery offers and promotions might draw their attention?
• How often?
• What priority media and channels do they use to communicate?

One way of communicating with audiences effectively is to build communities around a cultural project or event. Non-audiences are undoubtedly the largest group. A non-audience groups people who do not know the art, the artist and the event, or who are not interested in what is offered. Audience recruitment strategies can be used to turn non-audiences into potential audiences.

3.1.2. ART GALLERY COMMUNICATION (read Guidebook: 8.8.)

3.1.2.1. ROLE OF AN ART GALLERY 

Because of the specific features of the art world, the role of art galleries can best be described as an intermediary or “bridge builder” between art and artists and their audiences.

Whether an artist is well established or taking his first steps to introduce his work to an interested public, a good art gallery puts his work in front of art lovers, collectors, buyers, art critics and the art media.

The art gallery uses professional means to generate new interest and sales, educates buyers about the artwork and creates new opportunities for the artist. In addition, an art gallery will allow its artists to spend their time creating rather than getting involved in handling negotiations, payment procedures, administrative work, logistics and shipping.

In this paper, it is discussed how to make this communication with art audiences more efficient and to connect better with art audiences’ expectations.

Art galleries have to understand that, in the field of arts, in addition to providing points of connection, emotions are at play and need to be taken into account. This can make professional communication in the art world more complex than communication in other fields.

Collecting art is not just a hobby for wealthy people. This widespread perception is a result of frequent media reporting on important international auctions or famous private collections. There is a wide field of affordable art, which is not just restricted to prints, re-prints, other forms of multiples, formulaic and cheap work.

Art galleries have to see each visitor as an individual who needs to be understood. This requires work to get to know the buyer, which is best done by entering into a dialogue with the goal to enter into a long-term relationship. The relationship will be off on the right foot if the visitor understands that he is a person of interest and that the immediate goal of the dialogue is not in making a sale.

This is corresponding with many artists’ perspective that the process of creating and presenting their art to an audience is not necessarily always about making a sale. It needs to be considered that the evaluation of the final art work as the end product of an artistic, creative process is not in all cases been meant to become subject to evaluation by (expert) third parties. There are artists who reject this process and do not care about market approval.     

3.1.2.2. ART GALLERY BUSINES MODEL TYPES

3.1.2.2.1. BY TYPE

3.1.2.2.1.1. “EXPERT NETWORK” ART GALLERIES

Art galleries in the expert network are generally non-profit (non-commercial) galleries integrated into a network of art institutions such as schools of fine art, museums, artists’ collectives, associations, and local art institutions. In these networks the characteristics of collaboration are joint exhibitions, annual activity reports, the co-publication of catalogues and the provision of accommodation for artists-in-residence. The networks provide artists with a studio, financial support, relevant contacts and access to exhibition opportunities.

3.1.2.2.1.2. “DEALER NETWORK” ART GALLERIES

The dealer network is made up of (commercial) galleries, which identify, select and exhibit (mainly local) artists based on subject matter, quality, emotional and decorative criteria. Normally there is little cooperation between galleries and between galleries and other art institutions in this type of network. 

3.1.2.2.2. BY GALLERY TYPE

3.1.2.2.2.1. “POINT-OF-SALE” ART GALLERIES

A point-of-sale gallery acts as a typical intermediary between artists and buyers / art collectors. The majority of commercial art galleries follow this model. Generally, they do not develop networks (in which they are the central point) but use the artist as the centre of their activities. Their primary role is to plan, organise and host exhibitions and possible accompanying programs, notably the opening (“vernissage”) and the “finissage” at the end of the show. Usually, point-of-sale galleries do not participate in art shows, salons and do not produce catalogues.

3.1.2.2.2.2. “PROMOTION” ART GALLERIES

Promotional art galleries are normally headed by trained art professionals and primarily support researched, innovative art. These galleries are typically part of larger networks of cultural institutions (for instance museums or art foundations). They often share the printing of art catalogues, the cost / organisational work of joint exhibitions, art fair participations and acquisitions of artwork.

3.1.2.2.2.3. “SPRINGBOARD” GALLERIES

Frequently, “springboard” galleries are non-profit organisations, which are financed by subsidies and firmly integrated into institutional networks. Their primary task is to provide an artist with a first step opportunity for getting noticed, making career and by increasing his work’s market value. Collaborations with exhibitors, participation in catalogue production and cost of artwork production are typical activities.

3.1.2.2.2.4. INSTITUTIONS OUTSIDE THE ART GALLERY SYSTEM

The promotion of artwork can also be done by non-art institutions who use the arts as a communication / PR means to promote their business, attract customers beyond conventional marketing and foster their (corporate) image / reputation. Hotels, restaurants, association offices and corporate headquarters are typical venues for these kind of art presentations. Typically, the art shown at these locations is traditional, figurative and mostly decorative in nature.

3.1.2.2.3. BY ARTIST TYPE

3.1.2.2.3.1. “SALON” ARTIST

The typical salon artist produces traditional art, executed with traditional materials and using traditional techniques. The artists in this sector achieve commercial success through sales and as many as possible exhibitions at galleries and art fairs. The art gallery’s role is very much limited to the commercial, informative and technical aspects, and less to artistic and intellectual aspects. Therefore, the discourse between the parties is mostly technical and not analytical or critical. The typical customer / collector is mainly interested in the genre of the artwork, the art school / movement it belongs to and the positioning in that movement of the artist in question.   

3.1.2.2.3.2. “ARTISAN-ENTREPRENEUR” ARTIST

Art photographers are a typical example for this group of artists. Their character is similar to the salon-artists’ but they are more entrepreneurial as they may surround themselves with a team of assistants and technicians. Their market is developed through websites, interior decorators, architects and communication / public relations agencies.  

3.1.2.2.3.3. “360°” ARTIST

The 360° artist can be compared to the artisan-entrepreneur artist, but his creativity does not necessarily manifest itself in the production of pure artwork but can encompass other forms of art such as performances, installations, audio-visual presentations or other mixed-media performances and products derived from the initial work which can then be merchandised. The success of a 360° artist depends on the effectiveness of his network which is surrounding him in the centre.

EXPLANATION: In a 360° deal, an art gallery typically provides support to an artist in more areas than covered by a traditional contract on the condition of receiving a percentage of revenue from these additional areas. The 360° deal reflects the fact that part of an artist’s income now comes from sources other than his art music, such as merchandising reproductions, p.p..

3.1.2.2.3.4. “ART-FAIR” ARTIST

Art-fair artist essentially produce art work which is appealing to institutions and collectors. Their recognition in the art market depends on the frequency and visibility of their presentations at local, national and international art fairs and art salons and the effectiveness of a professional curator.

3.1.2.2. MARKET ANALYSIS

3.1.2.2.1. ART COLLECTOR ANALYSIS

Knowing what motivates collectors can give an art gallery an edge when selling art. The gallery should know that not all collectors are the same. Whether it is the collector’s emotional attachment, a rational collecting concept or social aspects, the gallery’s approach with each collector should be just as different as the reasons they collect art.

Therefore, an art gallery who comes across a true art collector should find out exactly about the motivation of the collector:
 

• If the art collector cares about social status, the art gallery should outline its showing history and mention past clients to impress this type of art collector;
• If the art collector connects emotionally with an artwork then the gallery should show more pieces of the same genre;
• If the art collector admires the story behind art then the gallery should have the details ready. The art collector appreciates to learn about the artist and the artwork, for instance why and how it was created.

Some art collectors want to connect with the artist. The gallery should understand that for these collectors, an artist’s story or an artwork’s story can be as important as the artwork itself. After getting to know the gallery’s expertise and after learning, for instance, how the artist became an artist, how and when he developed his particular style, or what his source of inspiration was such a collector may seriously fall in love with the artwork in question.

Other collectors simply enjoy the dynamics of the art community, which includes meeting up with like-minded friends and enjoying being seen at art events, such as gallery openings. In these cases the gallery has to go where these collectors go, for instance art fairs, other gallery openings and museum receptions to represent the gallery’s program

3.1.2.2.2. STUDIES AND SURVEYS

If an art gallery has funds available and wants to learn more about its relevant markets and target customers, it can commission a number of research work to better understand the environment it is operating in. Studies and surveys can include in particular:

• A customer satisfaction survey,
• A socio-economic impact study, to identify and evaluate the potential socio-economic and cultural impact on customers and the community of a proposed showing of a selected artist, including
• A study on the gallery’s target audiences (a socio-economic study), and
• A survey on who the art gallery visitors / customers are (an empirical study),
• A communication audit, which will help to understand the effectiveness of print and online communications,
• An awareness survey,
• A pricing policy audit (to be in line with the most recent price trends in the relevant art segment as regards the artist in question),
• A partnership research study.

Free tools like Google Analytics can be helpful in this endeavour.

3.1.2.3. STRATEGIC AND BRAND POSITIONING

Right at the beginning of its activities, an art gallery has to make a basic strategic decision: What will be the concept and, following from this, the program of the gallery?

The most important choices to make are what kind of program the art gallery wants to represent. For instance they have to make a choice between different types of and types of art practised by the artists, such as,

• Established and emerging artists,
• The artist’s relationship with innovation:
  • Conceptional innovation (precisely planned artworks),
  • Experimental innovation (undefined objectives, more trial & error),
• Conservative (classic) art and contemporary art,
• Avantgarde art and experimental art.

3.1.2.3.1. STRATEGIC POSITIONING (read Guidebook: 1.2.; 2.1.2.)

It is erroneous to assume that any gallery is right for an artist, no matter what kind of art that artist makes. Normally art galleries have developed a concept for their gallery program and the artists they want to show. Gallery owners can become quite particular about the types of art and artists they want to represent, and, in the overwhelming majority of cases, only show particular defined genres, types and styles of art.

3.1.2.3.2. STRATEGIC GALLERY COOPERATIONS

A lot of art galleries have understood that, if the gallery concepts are either corresponding with or complementing each other, working together can be better than competition. Nowadays there are a lot of initiatives, under which art galleries are promoting each other’s weekend, late night or local art festival openings and encourage cross-pollination of art lover audiences. The construction of a cultural partnership can also be of interest if it is coherent with the respective gallery’s communication objectives.

3.1.2.3.3. BRANDING (read Guidebook on Self-Branding: 8.10.)

In the past, the term “branding” was deemed a dirty word in art, museum and art gallery circles. Increasing competition in the art market and the emergence of social media and the corresponding information overload (reference) has led to a change in thinking. Today, one can notice that art galleries, museums and art exhibitions are increasingly embracing branding and are accepting that having a clear vision and identity can be beneficial. A sound (visual) brand identity can be used as a tool for reviving institutions such as museums and established art galleries and art exhibitions to make them more appealing to a rapidly changing modern audience. Main reasons for branding or rebranding include new development and repositioning of brand image, changes in architectural arrangement, commemoration of an occasion or the wish to increase gallery revenue through increased visitor numbers, sponsors and donors.

However, the increasing trend towards more identity building in an increasingly competitive art world has created a dilemma. With commercial art galleries realizing the growing importance of branding, the most important challenge for them is to find a balance between their primary role of representing the artists and their work, and the promotion of the art gallery / art exhibition’s own brand. The risk is that art galleries push their own identity or the identity of the art event so much that it overpowers the identity of the promoted artists.

In the art world (this includes museums, art galleries, art events and exhibitions) brand identity is created by design work, which encompasses logo and stationery projects, and extends to broader intelligible brand identity programs that include interior graphics and way-finding, catalogues, flyers and posters. The design covers graphic identity reflecting and corresponding with the featured art, unified by a theme and constructed and implied viewpoints which are explored in a number of ways throughout the museum’s, gallery’s or exhibition’s communications. The graphic identity should serve as a clear unifying visual language to connect all printed material including title cards, leaflets, catalogues and any exhibition graphics. It includes colors, distinctive forms, imagery, material and types, such as italics and reverse italics, suggestion of light and shadow, a play with positive and negative space, all with the goal to make the museum, art gallery or art event distinct and providing a high recognition value.

3.1.2.4. ARTIST-GALLERY RELATIONSHIP

3.1.2.4.1. ARTIST SELECTION

The selection of talents in the art world is based on three criteria:

• The market,
• Peers, and
• Experts.

The “market” and “peer” systems are effective for relatively formalised, conservative artistic practices. It is foremost the quality, a pre-defined definition of quality and underlying proven criteria for judging quality, which form the basis for artists’ selection. For these systems it is complicated to identify real innovation as, at least in theory,

• The market system will have difficulties in recognising innovative artwork, which is not in line with prevailing market evaluation criteria; and
• The peer system will have a problem with innovation in art, which calls its fundamental points of reference into question.

In contrast, experts’ selection criteria seem to favour artistic innovation. The experts system is more open and allows art experts to identify new trends and recognise artists, who, in their opinion, are destined to play a role in art history before other market players do. Therefore, experts can establish a closer relationship to innovative artists, which allows them to play a more constructive role in achieving the artist’s recognition and in establishing an initial value for innovative artworks.

3.1.2.4.2. ARTIST-GALLERY COOPERATION

Successful artist-gallery relationships are built on mutual respect and understanding, trust and a general cooperative spirit.

The necessary relationship of trust presupposes that the artist and the gallery owner protect each other and value their respective work. The artist has a legitimate interest in the gallery owner making a lasting and not one-off effort to make him and his artworks known to the relevant public and the corresponding group of buyers.

It is a misconception to believe that art galleries are alone responsible for doing all the work and all the publicity for their artists’ shows. On the contrary, artists have to do more than just bringing in the art. Their active and ongoing participation and involvement is an essential part of any successful artist-gallery relationship. It will be in everyone’s interest if artists work alongside the galleries that represent them in each phase of the shows planning and implementation. every step of the way.

The better artists are informed about the gallery’s commercial and artistic concept, how professional art galleries work and what their constraints are, the greater the chances will be that their relationship with the gallery will be collaborative and successful.

Both parties need to be clear about their plans, concepts and expectations and fully transparent in their communications with each other. Otherwise conflicts may arise as a result of misunderstandings, errors and misinformation, which have the potential to generate an adversarial relationship which will not only have a negative impact on the personal relationship but potentially also on the success of the show. It is very difficult to imagine that a gallery will work against its own artists. A gallery would only be hurting itself, its reputation and track records of success if it did.

But bad communications can have a similar bad effect on a relationship although the gallery may believe that it is doing everything to maximize the success of the artists they represent.

To do this job properly, a gallery must be genuinely interested in an artist’s art understand it. It is the responsibility of artists to present their art clearly, effectively and understandably to facilitate the gallery’s job. Experienced gallery owners who continually see all kinds of art by all kinds of artists have normally acquired the skills necessary to bridge between the artist and interested gallery visitors and collectors.

3.1.3.6. ART AUDIENCE RECRUITMENT

The art audience is one of the foremost concerns of the curator.

A curator is not a creator but a facilitator for both the audience and the artists and a messenger who delivers ideas from contemporary society. A good curator needs to understand the audience and to fully communicate with the artists to let their work speak out to the public. Focus must be on the audience and what they could receive from the exhibition. The overriding concern is to allow for an audience interaction with the artwork.

One of the best things a communication practitioner can do is to build relationships and find out (to a reasonable extent) what individuals prefer. Some people like a phone call prefer an email an email.

Communication with culture itself is precisely what distinguishes it from consumption as well as from other, more commercial sectors. In the art sector “content” is created and shared but not “products” marketed or sold. For that reason, an art gallery has to adopt functional and effective communication strategies that establish dialogue by describing the content, instead of advertising, marketing and mere selling.

Against this background, the question must be asked, how a gallery will attract the attention of its relevant public and how does it achieve that people interested in the arts and art experts can be convinced in participating in the dialogue enabled by the gallery.

The most important condition to encourage participation in culture, in general, and in the gallery program, specifically, is direct and regular communication.

As communication has changed dramatically from conventional communication to a new mix of conventional and digital communication (read Guidebook: 1.3.2.1.; 1.3.3.2.; 1.3.4.2.; 3.3.1.1.; 4.1.; 8.1.1.8.), the way to recruiting attendees to an art event has changed dramatically with digitalization and the social media playing an increasingly important role.

For an art gallery, recruiting attendees is the benchmark value in measuring the return on investment (ROI), and the measurement starts with audience size.

Reaching and developing the proper audience/attendee list and number requires a communication strategy that corresponds with the type of event, the personality of the artist and the artwork he represents. In addition, it must be understood how the audiences to be recruited usually learn about (art-) events. This knowledge will help to tailor a communication strategy to do this most effectively.

For a gallery opening (vernissage) or an exhibition closure event (finissage), the tradition of mailing printed invitations accompanied by a matching RSVP card is challenged by online alternatives and, in most cases, replaced by email-based social-planning websites like EVITE (www.evite.com), which is creating, sending, and managing online invitations. 

Tools, which art event planners may use when recruiting an audience for an art event include:

• Telemarketing. This may be the most effective method in reaching a target audience, but it is also the most expensive option,
• Direct mails. But they are no longer widely used. They are costly may yield very little return on investment,
• E-mail is probably the most economical method to reach the greatest number of people but one should know that recipients of e-mails are becoming less responsive to e-mails and there is little guarantee that the e-mail sent may end up in a SPAM filter and will not be seen. In addition, one could count that about 10% of the email data base is out of date after a few months already and a frustrating number of failure messages will flow back to the sender,
• Social media are an economical approach to reaching a target audience. Their potential for creating a viral marketing campaign is great. For a social media campaign to be successful, building a social media presence online is important. This will help to establish a reputation for the art, the artist and the art gallery in question (read Guidebook 3.3.1.4.; 8.8.1.9. about website traffic).

3.1.2.5. ART GALLERY SOFTWARE

What an art gallery ideally wants is a fully integrated multi-platform and comprehensive software that provides a (cloud-based) data base:

• To maintain an artist database,
• That allows for customization,
• Provides easy sharing,
• Secures syncing abilities,
• Which is compatible with existing software,
• Provides the ability to create showrooms,
• Allows for developing marketing email campaigns,
• Which has catalogueing capabilities for artists and art collectors, Enables customer relationship management (CRM),
• Provides iPad / iPhone sales applications,
• Inventory management,
• A sales pipeline,
• Can generate invoices,
• Track clients,
• Does collectors exhibition & art fair list management.
• Manages the inventory and consignments,
• Does accounting, and
• Enables the development and management of websites and online marketing & sales promotion and sales. 

3.1.3. ART COMMUNICATION TOOLS

3.1.3.1. ARTIST STATEMENT

For an artist, the first task is to write an artist statement, which will serve as basis for any written or oral communication.

The artist statement can be best compared with a so-called elevator pitch, which, in the business world, is a very short 30-second sales speech selling the product offered.

For an artist, the elevator pitch is targeted at his main audiences, i.e. art gallery managers, collectors, art journalists and art critics (read Guidebook: 3.2.2.2.; . The art of preparing an appealing elevator pitch is to create a way (or a “hook”, read Guidebook: 1.3.5.2; 8.4.7.9.) for attracting the attention of the target person. This could be the artist’s specific niche in which he is working, a unique (new) message, a compelling history of past work or exhibitions, cutting-edge technique used, interesting materials or a totally new concept of art. 

3.1.3.2. IMAGES IN PRINT AND ONLINE

Great imagery will get an art gallery’s story across when added to the gallery’s online presence, in online and print communications, in particular press releases (read Guidebook: 1.2.; 8.1.1.) Ideally, a museum or art gallery should use a wide-angle photo of the venue to convey the scale of the display. Close-up photos are not helpful unless the object shown represents the central message of the exhibition. Best for publication purposes will be a selection of photos of the venue, the objects, and possibly the people involved.

3.1.3.3. CONVENTIONAL COMMUNICATION TOOLS

3.1.3.3.1. DIALOGUE

A gallery’s press release or social media press release (SMPR, read Guidebook: 1.3.1.; 1.3.1.7.; 2.9.6.; 3.3.3.; 8.8.1.10.) should be seen as the start of the communication process and not the end. For this reason, a press release should be designed to enable follow-up communications (dialogue) and allow the building of good professional relationships with journalists based on mutual respect and trust.

3.1.3.3.2. PRESS (NEWS) RELEASE

A press release is a way of presenting the salient information to journalists in the first instance. But frequently, there is the potential for them to have a much wider audience and are often posted word for word for anyone to see. Therefore all rules about the avoidance of jargon (read Guidebook: 3.2.4.1.; 3.2.4.2.), recipient perspective (read Guidebook: 2.2.2.; 3.2.4.1) and all other general rules for writing effective press releases apply (read Guidebook: 3.2.4.1.; 7.11.4.2.; 8.8.1.5.).

3.1.3.3.3. PRESS (NEWS) CONFERENCE (read Guidebook: 3.2.4.2.; 7.11.4.2.; 7.11.4.3.; 4.)

 

In preparation of an art exhibition a pre-opening press conference should be held. At the press conference, complete press kits should be made available that contain written texts explaining the show’s concept, the list of the artists, informative background on the artists’ work, their professional history and a USB stick with selected images, a detailed text (Word document not PDF to allow for easy editing, reference) and, if relevant, good sound bites for publication. The gallery manager should moderate the press conference and introduce the curator and the artists who have to say a few words. He should allow for a short Qs&As session involving the artist. For more details on organising and running a press conference read Guidebook 3.2.4.2.; 7.11.4.2.; 7.11.4.3.; 4.

 

3.1.3.3.4. INTERVIEWS / TALKSHOWS (read Guidebook: 3.2.6.)

 

The gallery can also promote the artist and / or the curator for participating in relevant talk-shows or in interviews for local media (for more details read reference).

 

In addition, the gallery has the opportunity to commission pieces of writing, podcasts and blogs, preferably posted by well-regarded social influencers  (for more details read).

 

These communication platforms will allow for effectively contextualizing the artist’s work. 

3.1.4.3.5. REVIEWS

The rise of the social media has not made art reviews abundant. On the contrary, art reviews will continue to be import as restaurant or hotel reviews are. The emergence of the social media has only resulted in evolving the character of art reviews. In the past, an art or gallery manager was keen on receiving good reviews of his art show in the daily newspaper. At present, art reviews (printed or online, e.g. in a blog) are more about offering diverse standpoints, discussion, providing background, contextualise and highlighting broader perspectives relating to the art presented. Today, it is more about creating a dialogue than teaching. Giving those people interested in the arts additional reasons to want to come to the gallery, exhibition or art fair booth is the most important goal of such communication.

The art or gallery manager must recognise that art reviews cannot be influenced. Under no circumstances he can expect or request the reviewer to write a positive review. There are no deals and to request that reviews be taken down if they are not wholly positive is a no-go. All people involved on the artist’s side must accept the integrity of the reviewer and allow him to give an honest appraisal of the show.

3.1.4.4. ONLINE TOOLS

3.1.4.4.1. SOCIAL MEDIA

When a gallery choses to run a social media campaign, the right people and the right social networks must be selected (read more reference). Facebook, LinkedIN, Instagram and Twitter offer a lot of opportunities but there may be alternative, more effective platforms that the gallery can utilize. The gallery has to select those channels in which their key target audiences and potential new audiences are active.

One way to identify the right people is to developing and keeping the profiles of potentially interested people art-industry-specific (for example by using LinkedIn’s group “Art Professionals Worldwide Noenga®”).

Part of this approach is to establish connections with art journalists, art experts, art critics, art foundations and other institutions active in the art domain.

There are a number of programs, which enable galleries to personalize the communication and to avoid generic communication. Particularly in the art world, people are hyper-sensitive as regards mass communication / mailings and it will be advantageous to opt for personalised communication. Otherwise the chances to miss on the opportunity to connect with and attract interested people is great.

An important tool when using social media channels is the “word of mouth”. Its power has not lost as a result of online communication but increased. A gallery, which encourages others to pass on their message are very likely doing right.

For instance, on Twitter, every Tweet or press release released via Twitter has the potential to generate interest in an art show or an art event or an artist and can be re-tweeted, get commented on, or cause a discussion amongst other tweeters who are interested in the arts or this particular artist or show. Twitter hashtags used to aggregate Tweets about a specific art event, exhibition or artist can so become an effective way of showing people who else in the community is talking about something they are interested in, and thus building a small one-interest community around it. Read Guidebook:2.5.2.3.;3.2.9.3.; 3.3.2.5.; 4.4.2.7.; 6.3.4.6.; 8.9.6.1..

3.1.4.4.2. WEBSITE / BLOG / PODCAST

The use of online channels and tools is discussed in much detail in the Guidebook.

• Websites: 1.3.; 3.3.1.3.; 8.4.7.9.; 8.8.1.9.; 8.10.6.1.; 9.5.2.
• Podcasts: 3.3.4.1.; 8.4.7.6.
• Blogs: 3.3.4.2.; 4.4.2.6.; 8.7.4.6.;8.10.6.1.; 9.2.5.

For any online communication, it needs to be remembered that always a link to the press release as well as possible twitter info on #howtofollow must be included and low resolution images must be made available (read Guidebook: 1.4.2.2.).  

3.1.4.4.3. LIVE VIDEO STREAMING

A contemporary new social media tool in gallery communication / promotion is live video streaming, which gives the gallery an opportunity to hold Qs & As sessions or give interested parties an inside view into the artist’s work, his work processes and even a glimpse into his studio.

Tools like “PERISCOPE” enable such live streaming even with the participation of the audience. This tool is recommended as in general, and increasingly, people love behind the scenes footage (remember the growing success of “the making of”…footage in the movie and TV-industries). In contrast, pre-recorded video clips do not offer that possibility. “PERISCOPE” makes it very easy to do that kind of “look behind the scenes”. In particular it makes it possible to tailor the content to appeal to a specific target group and thus help building an audience or community, which the gallery can connect with again at other, following occasions.

Video live streaming also enables modifications “on the go”, based on the audience’s feedback received during the live stream.

3.1.4.4.4. HASHTAGS

Hashtags are powerful tools for increasing the scope of messages in certain social media (read Guidebook: 3.3.2.5.; 8.4.7.8.; 8.4.7.9.). A good idea for a gallery may be to identify the Facebook, Twitter and Instagram hashtags that people follow who are art experts or art lovers interested in news from the art world.

3.1.4.4.5. LinkedIn PROFILE

LinkedIn (read Guidebook: 2.5.2.3.)has an important number of specialized groups or communities that attract interest in specific fields, including the arts. Art gallery activity in art groups or groups that are relevant for the art market make it easier for the gallery to identify and attract the right people (see above). 

Another option is “LinkedIn PULSE”, which give an opportunity to publish an article on any topic of interest to art professionals and art lovers. The article can be highly specialized, provide background on the artist and / or his art style or linked to a specific gallery event or exhibition. High quality “PULSE” publications are published in the relevant LinkedIn groups, which increases their reach and fosters more target audience feedback.

For instance, the use of “LinkedIn PULSE” can help the art gallery to clearly position itself and its program in the complex art world (see above). This can be helpful for the gallery to achieve one of its prime goals in an overcrowded market: Building the right reputation, creating an interesting image and showing its record.

This will assist the gallery in

• Attracting artists and customers effectively,
• Maximizing its recognition in the art market and in the artists’ community,
• Establishing itself as an expert and / or influencer in the respective art segment, and
• Make it much easier for the gallery to connect with top talents and art collectors.

3.1.4.4.6. INSTAGRAM

Instagram is an image oriented platform and therefore Instagram is a preferred medium for connecting with people particularly interested in the arts. A strategic selection of images can make it easier to reach in particular Millennials (read Guidebook: 2.5.1.2.), who generally strongly react to an emotional connection, which can be created by a relevant and appealing story combined with attractive images. Millennials are the group of people mostly used to looking for online information. Compared to their predecessors the Millennial generation has more specific needs and preferences and the visual character of Instagram is helping them in particular. This is beneficial for the in the arts sector which is living from images of any kind. For these reasons, an effective presentation covering the art’s / artist’s story and values, beefed up by images can become very important to trigger this specific target group’s interest.

EXAMPLE: One can show pictures around the artist’s studio, the gallery, show the work done in preparation of the exhibition opening, present photos and audio-visuals of the artist–art gallery dialogue and refer to other events. A short video clip could even create more interest than a simple picture. The purpose of the gallery’s Instagram presentation will be to show the Millennial crowd how it is to collaborate with an exhibiting artist.

Once, prior to and in preparation for the artist show, an Instagram following is built for the gallery and / or the artist in question and when connecting with the right people has commenced (see above), the art gallery can post an announcement for the planned exhibition. Accompanying the announcement, with the right hashtags in place, attractive images typical for the artist’s work can help maximizing the reach of the message and even go viral. Since Instagram is more informal than, for example, LinkedIn there is quiet a lot of freedom when it comes to announcing the gallery news.

3.1.4.4.7. SOCIAL MEDIA ADVERTISING (read Guidebook: 3.3.5.4.)

If the non-commercial social media efforts fail delivering the desired results, and provided there is enough budget, a paid advertising campaign should be considered by the art gallery.

Advertising is quite similar to the paid inclusions in Google search. All social media channels such as LinkedIn, Instagram, Facebook and Twitter offer the chance to place reasonably priced paid ads for maximum reach and thus become an affordable option for reaching the right audiences.

The systems are generally flexible and allow a trial phase, modifications and discontinuation in case the results are not as desired. One can optimize the demographic profiles of the audiences, the message and the budget any time.

It should be mentioned that paid LinkedIn advertising can be more expensive than publishing ads on social media like Facebook or Instagram. Still, the business-oriented nature of the LinkedIn probably justifies spending a little bit more in order to connect with professional in the art and art collectors’ field.

Generally, an art gallery communication campaign that will bring together multiple social channels will be the one that will deliver the best results in terms of both targeting, reach and recognition.

3.1.5. ART GALLERY EXHIBITIONS

3.1.5.1. PLANNING & ORGANIZATION

3.1.5.1.1. PLANNING

When planning an art event (the same applies for all other events, read reference), first and foremost nothing should be assumed and nothing should be left to chance. A well-organised plan requires a lot of preliminary work, some research, a concept, an allocation of responsibilities and a realistic timetable for structuring and controlling the implementation of the plan.

3.1.5.1.1.1. TECHNICAL

It should be clear in particular from the very beginning who is responsible for contributing, managing, delivering and paying for what: Packing, freight, artist travel expenses (if any), installation, dismantling, the curator’s fees and expenses, possibly translation costs, catalogue and flyer / poster design and printing, press contacts and briefings, media kit, and all other marketing activities. Insurance cost and potential customs duties need to be accounted for. 

There are two extra cost items, which are particularly sensitive as they may get overlooked:

• Unexpected customs duties and importation delays) (if the artist lives and works in a foreign country and has to import his works), and
• Insurance.

As regards the latter, it must be ensured that there is a written confirmation of insurance before the artist’s works take to the road.

3.1.5.1.1.2. CONCEPTIONAL

The art gallery has to think of the idea and overall theme for an artist’s exhibition. A good preparatory exercise is to write a mission statement (read Guidebook: 2.1.2.1.; 7.16.2.6.; 8.1.4.). This forces the planner to exercise a certain discipline, which can become helpful in case of the emergence of unexpected developments.

The mission statement should ideally cover the following items: 

What is the (art gallery’s) motivation and the purpose of the exhibition, for example:

• A show of progress made by an established artist,
• A showcase of a new talent,
• A cross-cultural exchange,
• An illustration of a theme or topical issue.

A gallery which is operating in a foreign environment with a predominantly different culture, mentality and appreciation of art must engage in researching the country’s artists and audience, to understand the environment it is working in and what subsequent issues may arise.

EXAMPLE: Working as a curator in Asia is different from working in the West in that the social context is perceived as a “totally money-driven phenomenon.”

Other elements of a mission statement should include:

• An explanation for the choice of location of the exhibition site, for instance, a museum or an art gallery,
• The rational for the choice of an alternative venue for the exhibition such as a public park or a shopping arcade (see chapter POPUP) versus a traditional gallery space,
• The positioning of the exhibiting artists in a relevant art movement and the artists’ contribution to progress made in such movement,
• Accepted sponsorship and its rationale and possible conditions.

Other and some more technical considerations must be given to:

• Using floor plans and starting mapping out the layout of the exhibition (this includes building 3D-models of the gallery space and artworks. Some art galleries use software like “SketchUp”).
• Ensuring a logical flow between the exhibited artworks and a critical check on whether the audience will understand the message or the rationale of what was tried to be conveyed,
• Creating possible intriguing juxtapositions between artworks,
• Creating a dialogue amongst the artworks and the audience,

EXAMPLE: An artist exhibiting autobiographical images, as a reflection of his adventurous life, was not sure whether the viewers would understand the very personal situations, which he was covering in his artwork. He therefore produced poems corresponding with each piece, which, in an ironic way, commented and on / or explained the scene reflected in his work. The viewers were interested in what they heard and engaged the artist in an unusual conversation.    

The opening and closing dates of the art exhibition have to be set up well in advance to allow a positive and productive environment for all involved.

The gallery calendar must be marked with deadlines for each element of the planned project. In most cases it will be helpful to work backward from the planned opening date and schedule the necessary implementation steps needed to put on the exhibition.

The planning, organisation and implementation experience must be kept as stress-free as possible by having everything planned out beforehand. In some cases, a contingency planning is recommended when there are risks involved, which the gallery cannot influence.

EXAMPLE 1: The artist selected for the exhibition is unreliable, moody and capricious.

EXAMPLE 2: The artist is scheduled to make a performance. In the last minute, the hosting gallery receives the bad news that the artist is prevented from coming.

Fall-backs have to be developed in these cases for keeping the audience happy, safeguard the gallery’s reputation and maintaining the audience’s interest in the artist’s work.

3.1.5.1.2. CURATION

Gallery managers want to maintain their flexibility in deciding what to show and which artist or art movement to represent. Normally they do not agree to show whatever works of art the artists in question want them to show. They want to curate the art. Based on their experience, location and socio-economic customer data gallery managers want to and can decide on:

• What works best for the gallery,
• What their collectors tend to prefer, and
• How to organize and present art in compelling and effective ways.

To curate an exhibition, one does not need to be an art historian or museum staff member to curate an art exhibition.

Today, a curator’s job is like a movie director’s job. He needs to oversee every planned detail of the production (i.e the show), including small details which can turn out to be important once the exhibition is running (for example the hanging / positioning of paintings in the gallery space, or the time at which an art performance will start).

In principle, an art curator needs to be sensitive to people (who may turn out to be difficult because of their egos), extremely well organized in terms of detailed planning, flexible and determined at the same time when getting confronted with individual wishes by the artist and the gallery manager and others in the process of implementing his plan at the gallery. In addition, a curator needs to cooperate well with people and motivate his collaborators as it takes many skilled people to put on an exhibition.

A curator may develop a concept for the exhibition, but at the same time, and in consideration of the very individualistic character of the art industry, he has to accept that there he cannot follow a one-size-fits-all approach, but has to be flexible and open to various approaches and methods.

3.1.5.1.3. ARTIST SELECTION

Of course, there is no advice from a communication standpoint, which one can give to an art gallery or a curator engaging in putting an exhibition or an art trade fair show together and managing it during and after the opening. But there are some items, which should not be overlooked when concerned with the effectiveness of gallery communication:

• Will the artist make new works, which will be added to the gallery’s   budget or will the artist exhibit older works?
• Has the gallery decided to work entirely with local artists?
• If not, will the gallery need to arrange for travel and accommodation cost and visa for visiting artists?
• Will the gallery accept “in-residence” artists in return for an exclusive exhibition of the works produced by the artists during their stay at the gallery?
• Assumed the talented artist’s origin is from a poor or politically oppressed country, will the gallery provide accommodation, a studio, paints, canvases, frames and other material and will the gallery be prepared to acquire the completed artworks from the artist for a fair price upon the artist’s departure?   

3.1.5.1.4. NARRATIVE AND CATALOGUE

For an art curator, writing is a necessary professional skill. Publishing a narrative for the artist’s work or a catalogue of the exhibition are the tasks involved when curating an art show. This is particularly important when the artist is unknown to the art community or when the artist’s work requires some explanation to be appreciated. A narrative can help to translate complicated artistic messages into intelligible language, which can be appreciated by a broader public. A catalogue provides a great documentation of the artist’s work and offers a promotional tool that can lead to future artistic projects.

In some situations, a curator may have to be careful when writing texts about what he is writing because there are political censorship, ideological restrictions or religious sensitivities.

In countries where censorship is an issue, a text writer must know or must be specially briefed by insiders on what is likely to get him into trouble.

Even a country like the United States of America which is perceived as “free”, the so-called “political correctness” concept, when applied strictly, can turn out to be like real censorship or, even worst, self-censorship (read Guidebook: 1.3.7.) . 

3.1.5.1.5. INVITATIONS AND ADVERTISEMENTS

For galleries, which want to make an artist’s exhibition a memorable event, the key is to get the word out, whatever the means are. They can use certain tools to maximize the attendance for the event, the most conventional being mail / snail-mail, and e-mail the printed invitation for the exhibition to all the people on their data bank and beyond.

In addition, flyers can be handed out and key people such as journalists and collectors who are wanted to attend the opening can be contacted by various means including personal telephone calls.

In the rare case budget / sponsorship is available, advertisements in newspapers, art magazines and on the Internet, broadcast announcements on the radio and TV, street flags displays and pay for public transport ads can be considered.

3.1.5.1.6. SITE INSTALLATION

Site installation is a key task when curating an art show. Typically one week before the opening, the gallery team will need to do the on-site installation, which includes the painting of walls and, if required, the construction of extra walls or furniture. The gallery team, with the assistance and under the advice of the artists, will install the artwork, and the technicians will set up the lighting and technical equipment, if needed.

3.1.5.1.7. INTERACTIVE TECHNOLOGIES

Interactive communication means make it more engaging and fun to visit an art exhibition with interactive communication than traditional exhibitions.

Many art gallery visitors are not able to tell the difference between art works and the communication of the art works. When art gallery visitors cannot tell the difference between art and art communication then the interactive technology has blurred the distinction between the art work and art communication and successfully created a coherent holistic experience of the artwork and the interactive installations.

Many of the visitors will believe that not the curator or the technology design team have done the technical installations but the artist.

There are some new approaches to interaction design for communication of art in art galleries and museum space. When introducing technology to art galleries and museums, the challenge is that technology must enhance and support the presentation of the exhibited art without disturbing the specific individual and unique character of the artworks.

Traditional touch screen and audio guide interfaces, mainly used in museums, typically apply button and menu based interaction. This requires users to focus and concentrate on the selection of relevant items in the interface and will distract them from the art.

To avoid this the body can be used as the only interaction device.

Art gallery visitors usually perceive exhibition and (interactive) communication as a holistic visitor experience. The technical installations must not disturb, distract or even compete with the artwork but enhance their perception by the gallery visitor. More importantly, these means of communication must neither isolate the individual visitor nor make him detached from the actual art experience.

For art gallery visitors the interactive installations are a playful exploration of the artist’s inspirational material. The use of interactive technology for the communication of art may also appeal to young people who make their first experiences with the arts and, if positive, make them more willing to continue exploring art and experiencing art events.

There are three main approaches in the interactive technology communication of art:

• AUDIO AUGMENTATION of exhibited art works,
• Remote and INTERACTIVE INSTALLATIONS in conceptual affinity to the art works,
• The QUICK RESPONSE CODE (QR code). The OR code is a type of matrix barcode (or two-dimensional barcode), which is a machine-readable optical label that contains information about the item to which it is attached. It usually redirects the user to a website or application.

3.1.5.1.7.1. AUDIO AUGMENTATION

Audio augmentation of art works is easy to grasp and provides a useful supplement to the exhibited art. Different to headphones, which only provide a single user experience and have the problem of depraving the user from being aware of conversations or sounds in the nearby environment, the gentle audio augmentation does not suffer from these disadvantages as they use of sensor controlled directional loudspeakers (sound spots).

The audio spots utilize a coarse grained PIR sensor to detect the appearance of a visitor within a silver circle marked on the floor. The sound spots are located in the exhibition next to the art works. The visitor’s movement into the spot triggers played back recordings with clips of the artist’s voice gently supplementing the artworks, for example reading texts or poems. When the clip is finished a slight movement will invoke the next audio clip in a random sequence.

The communication becomes an integral part of the art experience. By choosing the artist’s voice instead of a distanced narrator’s voice enhances a notion of integration.

Other people can share the audio spots by putting their heads together in the listening zone, and experiencing they will find them to be an exciting manner of gaining knowledge of the art works and the artist.

3.1.5.1.7.2. INTERACTIVE INSTALLATIONS

The gallery needs a separate room, which can be used as a  “contemplation room” in which interactive installations are communicating the sources of inspiration behind the exhibited works.

Although the contemplation installations are physically detached from the art works they refer to, they provide a clear reference to the art works by displaying inspirational material behind the given artwork. This arrangement creates an affinity between the artwork and the interactive installation.

The “contemplation room installation” differs from the “gentle audio augmentation” in that the latter is more an integrated part of the exhibition.

3.1.5.1.7.3. THE QUICK RESPONSE CODE (QR CODE)

The gallery can provide a QR code, which will direct the visitor to a specific page on the gallery’s website which will contain additional information, background or other accompanying material to make the art lover’s visit of the gallery more informative and enjoyable.

EXAMPLE: An exhibiting artist had created a poem for each of his works. Instead of printing the poem and attaching it to the wall next to the exhibited work (thus distracting the visitor from viewing the work), the gallery made the poems available on its website and gave the visitor the option to download and read them via QR code. Especially members of the younger generations have accepted and used the offer of the gallery with great willingness.

3.1.5.1.8. MUSEUMS ARE DIFFERENT (read about communications for museums: Guidebook: 8.8.1.13.)

In art museums, the artworks should constitute the main visitor experience and not their presentation. Therefore, for art museums, a main issue in the communication strategy is to avoid disturbing the pure art experience with the communication means selected (e.g. projections, audio or video installations and the like). This traditionally has only left room for small discrete signs, a catalogue, or perhaps an audio guide explaining about the artist and his work.

3.1.5.1.9. POP-UPS

Art galleries can opt to move their exhibition into empty or otherwise available spaces in industrial areas or on the high street for short periods of time. These pop-up experiences are an interesting way for galleries to provide an interesting “canvas” environment for their artists’, immerse themselves within the ‘everyday’ life of an area, and encourage a completely different audience.

3.1.5.2. EXHIBITION MANAGEMENT

3.1.5.2.1. GRAND OPENING (read Guidebook: 8.4. about event communication)

The (grand) opening of an art exhibition (vernissage) should be exciting, fun and memorable for all participants. The gallery should strive for creating an exciting buzz so that people will keep coming back for the exhibition. The opening for the evening should be scheduled when most people are free to attend and not collide with public holidays, long weekends and the like. Also, the timing of the opening and subsequent opening hours should consider the work schedule of the majority of the people and avoid business rush hours.

The opening can be silent and completely focus on the viewing of the art, and / or with introductory speeches by the artist, the curator and other significant figures, with a live art or music performance or light or any other show related to the art and the show’s character. Generally, the gallery will be responsible for serving some refreshments and let the visitors see the artwork in peace. The artist (when present) should be near his works so he can answer any of the visitors’ questions.

3.1.5.2.2. GIVE AS MANY REASONS TO VISIT AS POSSIBLE 

The gallery should give as many reasons to visit the exhibition as possible. 

• Live performances,
• Guided tours,
• Recitals and readings,
• Night time openings,
• Educational hands-on workshops,
• Panel discussions with experts and the artist,
• Exclusive VIP-visits,
• How-to-explanations by the artist,
• (Artist cooked) art dinner or suppers,
• Involvement of local art professors and their students,
• Lectures,
• Local community gatherings with walk-in hours and even activities for families, if appropriate,
• Invitations to expatriate groups, Lion’s and Rotary Club members, representatives from Chamber of Commerces, embassies (cultural attachés),
• Cultural institutions and foundations in the art field.

All options need to be considered to attract visitors. However, the gallery must also remember that all marketing efforts should remain there should be done within the limits of appropriate decency because an art gallery is different from a shop or supermarket.

During the opening week, when interest in the exhibition is high, the gallery can invite local art school professors and their students to get special viewings accompanied by lectures.

 

The gallery can also chose to engage local community institutions by organising special viewings, walking tours and hands-on workshops.

In general, a thoughtful, pre-planned program can maintain a high interest level by keeping the ball moving, generate its own momentum and will make the gallery a local cultural “hot spot” that people will be attracted to and happy to visit.  

3.1.6. ONLINE SALES

Viewing and buying art online is one a serious growth area of the Internet. Today, and probably even more in the future, and in common with other areas such as the luxury sector, consumers are increasingly prepared to pay more online than ever before. Top-end purchases still seem to be transacted offline but the important auction houses are using already more online technologies to transact than in the years before.

4. PRICING COMMUNICATION

The price of an artwork is set by the gallery based on the artwork’s intrinsic and extrinsic characteristics in consideration of the artist’s current or projected importance.

There are a few things to consider:

• The research of comparable artists (in terms of experience exhibiting and selling, and medium/style),
• Market test results,
• Established prices; and
• Price consistency (artwork should be sold at the same price across the board at galleries, open studio events and art fairs).

Amongst other factors,

• The reputation, originality, creativity and uniqueness of the artist,
• The relation to the prevailing “zeitgeist” (reference),
• The techniques, the materials and the medium,
• The size of the art work, and
• Possibly the time needed to create the artwork,

must be taken into account when defining the ultimate price for an art piece.

5. ART SALES COMMUNICATION

While there are many elements to a successful sale, the process itself is simple once the art gallery / art sellers understands their role.

It is correct that art will generate interest by itself (“the art will sell itself”), but it is much more likely to sell well if the right things will be said and done during the sales process. .

5.1. SALES PROCESS

It is an error to believe that good art sells itself and galleries are just showrooms for the exhibition of the artist’s artwork and that all what gallery owners do is sit around and wait for people to come in and buy.

Art is a product that has no tangible value, it is generally expensive and serves no practical purpose. Therefore, no art sells itself and selling art is anything but easy.

Most gallery owners will have made the experience that there is a huge difference between a gallery visitor liking a work of art and buying it. That difference is called selling process. Art galleries are more than just moneymaking selling machines. Therefore, it is not correct to assume that art galleries only show art that is easily saleable.

A serious art gallery has a concept on which it is basing its business including the selection of art style and artists’ orientations. Many art galleries take pride in bringing new art movements and new artists to the attention of the public, and some have even positioned themselves explicitly as avant-garde galleries. To do this, these art galleries must believe in the artists they show, in the validity and credibility of their art, its revolutionary and / or trendsetting character and they must be convinced that the interested public deserves to see it, irrespective of buying patterns and regardless of prospects they ultimately will end up selling or not.

5.1.1. BUYERS’ INDEPENDENCE

While it is important to engage potential buyers and tell them a story about the art, it is also critical to give them some space for reflection. A good gallery manager will not impose himself on a potential buyer. Ideally, he will introduce himself, start to get to know the potential buyer, and then step back to let him look at the art.

When the potential buyer pause in front of a particular piece, it can be helpful if the gallery manager asks politely whether he can be of any help and tell something about the work and the artist, before stepping back again to let the potential buyer think. This is especially important when working with a group of people or a couple. The gallery manager will want to allow them to discuss the art without feeling like he is hovering over them.

Giving customers space is easy in a gallery setting, but even in a small booth at a weekend art show, or in an artist’s studio, the seller must find a way to back off enough to give clients some privacy. He might even have to step several meters out of the booth, or go to another room of the studio to provide that feeling.

Before making a purchase, many buyers want to discuss the decision. They want to know for sure that spouses or partners feel the same about the art that they do. It is advisable to better give them some space than to have them wait until they leave to have a frank discussion.

5.1.2. SALES PUSH

Many artists and gallery staff think they should be doing most of the talking with an interested visitor with the goal to sell. Actually the opposite is true.

Also, too often both artists and galleries are concentrating so hard on that mythical “serious” collector that they completely overlook the opportunity to foster the potential interest from “normal” people visiting the art gallery. This does not mean that the gallery manager and his staff should not be aware of the opportunity to sell, if it exists. On the contrary, they have to consider that so-called “serious” collectors were once first-time buyers with no acquisition history.

The best way for a gallery manager to get to know more about a visitor is to get him talking about himself and to invite for questions. As a result of the resulting dialogue, the gallery manager will learn that the visitor has well-defined or vague interests, passions, expectations and preferences. This understanding will enable the gallery manager to help the visitor developing an understanding and appreciation of the artist and his artwork, its position in prevailing art movements, the value and the price.

In contrast to an aggressive ”sales push” is demonstrated disinterest by the gallery team towards an interested visitor. This approach can be a result of lack of sales and marketing training, psychological failure, misjudgements or simply arrogance. When an interested art lover feels be left alone, ignored or not appreciated he may turn his back on the gallery and never come back.

EXAMPLE 1: An art lover visited an art gallery to attend the opening of the solo-exhibition by a well-known artist. He got interested in a specific artwork and approached the gallery manager for more information about the artist and the piece of art he had singled out. The gallery manager referred him to a gallery aide, as she was busy eating food, which had just been delivered for her and some personal friends. The gallery aide was not able to answer all of the art lover’s questions satisfactorily and promised to send detailed information by email. Although the art lover was a bit confused, he provided his contact details and left the gallery. The information promised by the aide never arrived. The art lover did not appreciate the demonstrated lack of interest by the gallery and abstained from following up on his inquiry. No sale was made.

5.1.3. COMMUNICATION UPON ART SALE CLOSURE

Even in the more complex art business, is the sales process is governed by certain general rules. Salesmanship is requiring certain skills, which can be learned.

EXAMPLE: At the opening of a group art show, one artist photographer excelled the other artists by selling three artworks within the first 30 minutes of the show. Proudly he saw how the gallery manager put the famous red stickers to the wall next to the framed works. The other artists at the group show looked at him with a certain jealousy at their colleague as they didn’t manage to get any of the much-desired red stickers. Two weeks later, at the end of the show, the collector who had bought the three works at the opening backed off from the deal and let the gallery manager know that he had decided otherwise. Both the artist and the gallery owner were disappointed.  

Many art sales are lost simply because the artist or gallery manager did not come right out and ask for the sale.

EXAMPLE: A collector visited a gallery opening. After talking at length with the artist, he decided to make a reservation for an artwork, which interested him most. The artist introduced him to the gallery manager who noted the art collector’s contact details and promised to contact him after the exhibition was closed. This contact never took place. The piece of art remained unsold.

Asking buyers to commit can seem a little obtrusively at first and the gallery might feel like taking a risk by asking. However, the risk is far greater if the gallery does not try to close the sale. A visitor who loves an art piece might not end up buying simply because he was not given the opportunity. Even when an art gallery visitor’s response is negative the gallery will be in a better position than no question would have been asked. Once the situation has been clarified, the gallery can find out why the visitor does not want to buy, make alternative offers based on the visitor’s preferences or help the visitor overcoming any obstacles that might be in the way.

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On all general and some specific communication issues, more or more detailed information can be found in the author’s standard-setting guide book: “Present-Day Corporate Communication“ (www.public-relations-pro.com).

Copyright Rudolf Beger 11 January 2019.