Case Study drawn from the IPR Excellence Awards 2001 Entry title: Tate Launch of Tate Modern

n Company: Tate Communications team (www.tate.org.uk/modern) Category: Non-profit Budget: Band C (100,000 1,000 000)

Background Tate Modern opened to the public on 12 May 2000. As well as being the first new national museum to open in London in a century, it is also the first national museum for modern art in London. Tate Modern is a Millennium Commission project funded by the National Lottery. Housed in the former Bankside Power Station, Tate Modern displays the Tate collection of international modern art from 1900 to the present day. There is a full range of special exhibitions and a broad public programme of events throughout the year. The ex-power station has been transformed into a modern museum by Swiss architects Herzog & de Meuron. The former Turbine Hall now marks a breathtaking entrance to the gallery. At night, a lightweight luminous roof is a unique addition to the London skyline. The Tate Communications team needed to ensure that the launch of the new Tate was covered sufficiently by both the national and international media.

Objectives >> Broaden appeal The main aim was to increase public awareness, understanding and appreciation of modern art. In order to reach this goal, it was necessary to make modern art more accessible. Broadening Tates audience and appeal was seen as the key to fulfil this target - as opposed to the notion of modern art as elitist. Tate Modern aspired to attract people who intend to come to galleries but who rarely do. >> Double attendance In figures, the Tate Communications team set sights on doubling the attendance to Tate. >> Be seen to be worth the money Amidst scepticism and criticism towards other millennium projects, Tate Modern needed to ensure that it was seen as a project well worth the money; the Millennium project. Their strategy was to be flexible and recognise the issues and concerns of other millennium projects. >> Clarify Tate Britain As there already existed a Tate gallery in London, it was necessary for the Communications team to clarify the positions of the different Tates. They had to make sure that the original Tate at Millbank was perceived as Tate Britain before launching Tate Modern. Tate Britain was dispatched two months ahead of Tate Modern. >> Achieve international acknowledgment From an international perspective, New York and Paris also have exemplary well-established modern art museums. Tate Modern would be the first national modern art museum in London

ever. Hence the international art world was watching Tate closely. The Communications team had to certify that the opening of Tate Modern established the gallery firmly on the international art arena. The gallery would provide a unique international opportunity for the socalled Brit pack to display their modern art. >> Involve the local community Unlike other major regeneration projects Tate wanted to make sure that the local residents and community groups were involved with and benefited from the new gallery. Only that way could they be seen as responsible and caring neighbours.

Strategy & Plan Media interest needed to be ensured from an early stage throughout the building period, both nationally and internationally. Working with PR consultants Bolton and Quinn, the Tate Communications Team secured the support of high-profile endorsers and key members of the media. An editorial column in the Financial Times ran from 1997, at a time when Tate Modern was still fundraising. The campaign achieved a build-up of interest through strategic editorial at all major stages of the project.

Target audience Media Press Broadcast (television & radio) National and international Government Artists Art critics (national and international) Art enthusiasts Art beginners (e.g. cab drivers) Local Southwark community

Key advocacy Involvement of British artists Establishing why Tate is important and necessary Communication liaison and involvement and visitor centre Lobbying Government to ensure Tate Modern entry was free A range of private views and tours for all sectors throughout the project Enlisting the support of high-profile endorsers and key members of the media

A development officer worked closely with local residents and community groups, ensuring that they felt involved with and supported the project. Prior to the main press days, a private view of the museum for local residents and press was arranged.

Execution & Implementation

The Communications Team recognised that to attract a wide audience to Tate Modern it was necessary to secure the support of television, the mid-market papers and crucially the tabloids, bearing in mind that the plans for the gallery were heavily criticised by The Sun when first launched in 1995. Favourable coverage in the tabloids was arranged through events such as the black cab drivers preview. In a special preview session, 20,000 black-cab drivers in London were invited to a preview especially for them. The idea was that this would enable the cabbies to explain and talk about the galley to their passengers. For all media coverage, Tate Communications team provided and distributed press releases and photographs. In March 2000, The Observer did a special supplement to launch Tate Britain. Vogue Magazine did a similar feature in May. Time Out filed a particular guide to the Bankside area and the Sunday Times Magazine covered all art lottery projects. Tate Modern secured a four-part documentary on Channel 4 on the architecture and building project as well as four art documentaries on BBC2. The opening by the Queen was covered live on BBC1. GMTV hosted their breakfast show from the Tate Modern. Working with PR agencies in France and New York, Tate Communications team was able to secure extensive international coverage and specialist art world press throughout the world. When creating a corporate identity, a Tate concept, the graphic identity designed by Wolff Olins was applied to all items of print at both the Tate Modern and Tate Britain, as well as to internal and external signage, merchandise, uniforms and website. This way they managed to ensure it reflected brand values essentially connected with Tate. On the marketing side, TBWA GGT Simons Palmer created a high impact campaign with six different adverts appearing across a range of media (including bus sides). It also proved central to work with as many promotional partners as possible. A range of non-commercial promotions were secured to support the marketing campaign, producing six million special coffee cups for Coffee Republic for their new LaTate, Wagamama chopsticks, in-store concessions at Selfridges, Tate Beer at Mash and a Royal Mail stamp. The creative content of the campaign was enhanced by collaborations with British artists. A fanfare by Sir Harrison Birtwistle was commissioned for the Queens formal opening of the museum. Tracy Emin produced a front cover for The Observers British Art supplement and celebrities like Madonna, Mick Jagger, Kylie Minogue and Claudia Schiffer added glamour to the opening party. The opening show, broadcasted live on BBC1 and BBC2, was watched by millions of viewers. It included a laser show projected onto the facade of the building. The Tate website was redesigned and upgraded prior to the opening.

Results & Evaluation The campaigns initial objectives were achieved and in some cases exceeded. The media campaign was successful in ensuring that the tabloids viewed the opening of Tate Modern favourably. Between 12 May and 17 May Tate Modern had 317 inches of column space in national print media, making it the fifth biggest story that week. The media coverage was extensive both nationally and internationally. The campaign succeeded in reaching publications and channels normally not reached during a Tate media campaign. The approximate total audience reach just through national television during April, May and June was 126.7 million. 13 articles in the tabloids represent a reader figure of

approximately 32.5 million. >> Examples of coverage: Now that the White Van Man has approved Londons new Tate Gallery it has the official blessing of the people. And quite right too. Britain should be proud of its art. And The Tate. (from The Sun, 9th May 2000, national daily with a circulation of 3,513,685) The new Tate leaves one astonished, dazzled, with all preconceptions thrown out of the window. And little envious, as well: because London now has this magnificent museum of modern art. (from Liberation, 12th May 2000, French daily with a circulation of 169,000)

5.25 million people visited Tate Modern in its first year, a figure more than double that of their expectations. Over one million people came in the first six weeks. The website registered an average of 24 million hits per month. In May 2000 they had as many as 10 million hits per day. According to Campaign Magazine, Tate was one of the ten most talked about brands during 2000.

What did the judges say? This was one "millennium project" that managed to positively distance itself from the many other very negative Lottery funded projects. It was a well-orchestrated, creative campaign that set out with specific objectives and achieved them all. Good use of evaluation, helped by clear objectives in the first place. The campaign made good use of wider marketing opportunities to raise awareness and it managed to turn around some very negative tabloid comment into positive support. With "feet through the door" as a measure of success, the results achieved were phenomenal. (Judges: Dick Fedorcio FIPR, Director of Public Affairs, the Metropolitan Police Service; Fiona Fountain MIPR, founder of the 'Fifth Estate Group' and public relations consultant; and Richard Harbord, Chief Executive, London Borough of Hammersmith & Fulham)