Smithsonian Institution Traveling Exhibition Service's Blog

Marketing your Next Exhibition

There is, perhaps, no worse feeling. After putting hundreds of hours into the conception, fabrication, and promotion of an exhibition, you discover that the visitation numbers are abysmal. People meander through the gallery here and there, but they aren't lining up outside the doors; they aren't calling for tickets; they just don't seem all that interested--much to your utter chagrin. What happened? You went through all of the proper PR channels; you navigated those waters with ease, but still the rooms were silent--no buzz at all.

If you've ever found yourself in this situation, read on. Here are a few tips from our Scheduling and Exhibitor Relations (marketing) team that might help you avoid the exhibition bust blues:

Q. What's the best way to market an exhibition?
A. First, you need to know your audience. Will your core group of visitors care about this topic? Conversely, are you trying to reach out to a totally new group? What might appeal to them? Try testing the waters through your website, written survey materials, or an exhibition prospectus. Sometimes, it's most effective just to talk to people.

Q. What shows usually bring in the most visitors?
A. For us, the exhibitions that are the easiest to book are those that deal with diversity and culture. This is very relevant to every community because the world is changing. You can no longer present things from just one side. Science exhibitions, that can successfully speak to students, are also hot right now. No matter what the age, people just can't get enough of highly interactive exhibits (like our new science show DIG IT!)

Q. Movies, theater, concerts, folks have so many entertainment options. What do you think people are really looking for in an exhibition?
A. There's a lot of exhibitions out there about the same old thing, but we believe people want to learn about topics that haven't been addressed in the mainstream--exhibitions about immigration, Native Americans, or African American history. On the other hand, it doesn't have to lofty to be interesting. Some of our most desired exhibitions have been about popular culture. Lunch Box Memories was a show of, you guessed it, vintage lunch boxes (Star Trek fans rejoice). Another option is to tap into a prominent anniversary. We tied 381 Days: The Montgomery Bus Boycott Story to the 50th anniversary of Rosa Parks historic decision not to give up her seat. Still, whatever you decide to pitch to your board/senior management or to the public, it needs to have broad-base appeal.

Q. Are there some topics that are still too hot to handle?
A. Definitely. You can easily offend or slight someone, especially in religious matters. What we have found is that museums in large metropolitan areas (with diverse communities) are a bit more open to tough issues. But, there is certainly an untapped market out there for anybody who is brave enough to go there.

Michelle Torres-Carmona, Ed Liskey, and Minnie Micu make up SITES' hard-working marketing staff. Like many folks at the Smithsonian and at your museums, their behind-the-scenes efforts make things possible for the rest of us!

The New Standard Facility Report Unveiled

Whether digitizing collections, developing conservation techniques, or discovering previously unknown astral bodies, folks here at the Smithsonian are always on the cusp of the next big thing. SITES' head registrar Christina Schwartz is no exception.

Leading the American Association of Museum's (AAM) registrars' committee, Chris recently finished updating the "standard facility report," the often-maligned document so crucial for museums wanting to borrow objects. The report is a technical look at your building from the ground up: How safe is it? Is the HVAC system working properly? Does the site have a secure loading dock? Are the galleries flooded with afternoon light? Indeed, 95% of lenders won't give you that much-desired painting or sculpture if you DON'T have a current facilities report (within the last three years).

Because of limited resources or aging facilities, small museums (and even some mid-sized museums) may have difficulty with some of the questions in the report. Fear not. Local fire departments, security companies, and HVAC operators will have answers. If you're in the market for free services, peruse your rolodex for colleagues at larger museums who might be willing to offer advice and/or unused equipment (hygrothermometers, for example, to measure temperature and humidity). No matter what your situation, you should strive to complete the report. (Don't forget, having a current and complete document is also necessary for museum accreditation.)

Chris acknowledges that first-timers may find the questions a bit intimidating, and that's okay. What most lenders want to see is that an institution took the report seriously and worked diligently to fill in the gaps. Transparency is important. This is not the place where "I don't recall" is an appropriate response. If you're truly unable to come up with answers, there is help out there. The AAM hosts a great list-serv, where folks can ask just about any question and receive a number of varied, erudite solutions from registrar's who know what's what. Chris also cites a fantastic AAM-sponsored mentoring program that matches museum neophytes with seasoned professionals willing to lend a hand.

For larger institutions that have already completed a standard facilities report, you'll notice a few additional questions in the new version, helping to increase the level of understanding between lenders and borrowers. Don't roll your eyes. The minutia is important. The ultimate goal is to raise the level of professionalism and provide the best care for our treasured objects. When all the gray areas become black-and-white, there's much less room for errors and misunderstandings.

Want to get a copy of the new "General Facility Report"? Visit Chris at her AAM session this Sunday in Denver at 2:15 p.m. The report will also be available from the AAM's bookstore.   

From the Development Department: Part II

If you read last week's post--an interview with two of our development mavens--you'll know that there's a great deal to consider when approaching a potential donor/sponsor. This week, Jennifer and Marissa offer more practical advice on how to reel in the big fish.

1. Don't know whom to contact or how to find the right person with whom to speak? Start with basics, like the the company's website. Find some contacts in the marketing department and start those phone calls. Don't get too discouraged. You'll eventually find someone who can help. PERSEVERE!

2. If blind calling is not your gig, go to your chamber of commerce. Start on the local level. Perhaps there's a company/business that would like to do outreach or tap into a different market.

3. Talk to other organizations in your area. Who sponsors them? Have they gotten results from x,y, or z business? Sometimes, competing organizations can be reluctant to relinquish those details, but printed programs and brochures speak for themselves. Was the name of an area car dealership on the cover of museum X's exhibition brochure? They should be #1 on your list to approach.

4. Make connections. There's nothing wrong with requesting an informational interview with someone in a business. Ask them what kind of programs/projects they'd be interested in sponsoring. This is not to say you're putting the cart before the horse: it's all about gathering data.

5. Put your institution out there. Rent out your facilities for seminars, professional meetings, and even weddings. You'll be creating valuable name recognition as well as letting people know that you're already well-known in the community.

Looking for another way to fund a SITES-related exhibition? Apply for a community grant!

Tips from SITES Development Department

We're lucky enough to have three very talented and resourceful people in our development department, but alas, many small and mid-range museums aren't quite so lucky. With at least 50% of the museums out there, the director is the chief financial officer, and the curator may be the volunteer coordinator, the education specialist, and the registrar. What this means for most museums is that staffers wear many hats, some which are flattering and fit perfectly, others of which just don't fit at all. So, for those of you out there sporting multiple hats, here's part one of our series on fund raising with development specialists Marissa Hoechstetter and Jennifer O'Keefe:

1. Create a development policy that all of your staffers understand and can reference at events or when talking to potential donors. This is a kind of collective agreement about what you can and can't do to woo your potential sponsors. For example, if it isn't feasible that your institution rename part of the building after a big donor, make sure that that prospect is never on the table. Anyone who is going to be soliciting funds should know that for a certain dollar amount, sponsors can get x,y, and z, and for a larger amount x,y,z, and q are possible.

2. Think outside the box and be creative about who you approach for money. This requires looking at all dimensions of your program/project. What does the program/project have to offer the sponsor? Are there less obvious elements of the program that might be of interest to donors?

3. Come up with a comprehensive list of people/businesses that you'd like to approach and refine this list with your colleagues. This is where personal relationships come into play. Does your colleague's husband know potential donor Mr. Smith? Perhaps, he might help pave the way and introduce you. A different approach is to invite potential sponsors/donors to events and exhibitions when you don't need anything from them. This just puts you on their radar screens and lets them know that you have a strong presence in the community.

2. What can you offer a donor/sponsor? Of course, the rules vary on this depending on institution, but the sponsor's name in print is always attractive--on brochures, banners, or in press releases. Perhaps the donor has a chance to speak at press previews or at the exhibition's opening reception. Start small. When you make an offer, chances are the donor/sponsor will come back with a counter offer that you can negotiate. Be as up front as possible and specify a dollar amount that you'd like the donor/sponsor to contribute.

Find this information helpful? Part two of the interview will appear next week.

Writing Copy for Your Next Exhibition

Let's face it. We've all gone to exhibitions where we moved from object to object, image to image without taking the time to read the labels or text panels. All too often, I see Smithsonian visitors perform this ritual museum dance, flying from one thing to another like toddlers in a room full of exciting, new toys. Yes, it's true. Seeing the ruby slippers in person is much more compelling than reading a 300-word essay about them. Oh wait, isn't that Archie Bunker's chair over there? In a flash, your visitor has darted off to another fabulous treasure and still doesn't understand the significance of that artifact.

So, how do you get people to stay in one place long enough to actually read about the items in your exhibition?

1. In most cases, less is more. We generally keep our text panels to 150-200 words. That's just enough space to say what you need to say without boring your visitor. This is often the toughest job of all, having compiled hundreds and hundreds of pages of fascinating facts about your subject matter. Save it for a companion book. Or if you're small institution, gather your data, convert it to .pdf document, and post it online--quick, easy, and free. You can always provide your visitors with a web address for further information. This will usually appease your most knowledge-hungry museum-goers.

2. Know your audience! This is perhaps the most important advice of all. Who will come to see this show? Families? The art crowd? Regular Joes and Janes? At the Smithsonian, we cater to everyone, even visitors who don't speak English at all. We, therefore, write exhibition copy for those on a middle-school reading level. That's not to say we "dumb things down." If it's a sophisticated topic, chances are the concepts you're covering are also lofty, warranting a deeper, more complicated treatment (but not necessarily any harder to read or digest). After all, it's very frustrating to visitors if they come to an unfamiliar word in the text. Most people will skip it, get frustrated, or simply stop reading altogether. That's the last thing you want to happen. 

It all gets back to knowing your audience: Exhibition text about contemporary medical arts (for a show called Visionary Anatomies  that just came off the road) was very different than copy drafted for the historical exhibition called 381 Days: The Montgomery Bus Boycott Story. We knew immediately that the contemporary art show would pull in a select audience, while 381 Days would bring in people from all backgrounds, especially school children studying American history.

3. Give it time. You need to let your copy sit for a while. Don't just go get a cup of coffee. Let it cool on your desk for a week or even a month. When you come back to it, you'll immediately recognize the shortcomings of your work (or how brilliant it was in the first place).

Need more advice? Let us know!

Exhibitions and Light Damage

A few days ago Erica Johnson, one of SITES registrars, showed us something quite startling at an internal staff meeting. She passed around a set of proof banners from the exhibition Booming Out: Mohawk Ironworkers Build New York, which just ended its successful three-year tour. At first glance, the images on the banners seemed fine. But after closer inspection, you could see that the images were, literally, green.

Erica speculated that this color change was light damage, and the proofs showed that this was indeed the case. It was in Erica's office that the proofs sustained the dramatic color change/light damage, especially noticable because the prints were partially covered. This was an accidental demonstration of a standard materials test; that is, to cover a portion of the material to block light, expose it to light for a period of time, and gauge the visible effects of the light damage by comparing the two areas.

The proof example demonstrates why many of SITES' exhibitions have light level restrictions, even if they do not contain overtly valuable or fragile works of art. After all, the final venue on the tour should have as positive an experience as the first venue. While we make every attempt to use durable materials that are resistant to fading, the effects of strong lighting, daylight, and temperature fluctuations can damage even hardy materials.

"The graphics for Booming Out were printed on a vinyl substrate," Erica notes. "The vinyl was chosen because it is sturdy and resists tearing, cracking, peeling, wrinkling and punctures, all important features for an exhibition on a multi-year tour with many installations and de-installations. New advances in printing are allowing us to combine different substrates with more resistant graphic applications."

Liza Kirwin, curator for our popular More Than Words: Illustrated Letters from the Smithsonian's Archives of American Art exhibition, reminds us that "light causes fading of certain media, especially watercolor and many inks. It can also darken paper and make it brittle. Because light damage is cumulative and irreversible, low light levels are the best conditions for works of art and photographs."