Marketing and Communications

The marketing of an exhibition may be sophisticated or simple, but the main objective remains the same – to generate publicity in order to attract visitors. To meet the needs and exploit the strengths of the organiser and venues, publicity tactics should be coordinated in an overall marketing and communications strategy, which the organiser agrees with venues, their press or marketing teams, funders and sponsors.

Some touring exhibitions will have their own ‘publicity machine’ i.e. specialised staff in the organiser’s communications department, responsible for the press and publicity at each stage of the tour. The organiser may administer and fund that part of the advertising campaign, for example. Venues should notify the organiser of names and contact numbers if they have their own press officers, so that the latter can liaise with any central publicity machine and avoid duplication.

It is important to evaluate the cost-effectiveness of the marketing and communications strategy, locally nationally and internationally. Admission figures should be recorded, to trace the effect of publicity measures. Market research or a visitor survey can be commissioned, particularly if the sponsor wishes to evaluate the effectiveness of participation and is willing to fund it.

The information presented in this chapter should be read in conjunction with the chapters on audience development and market research, both of which underpin the development and implementation of a successful marketing and communications strategy, as well as the touring an exhibition chapter, which includes information about marketing your exhibition to potential hire venues. A useful publication to consult is ‘Marketing and touring: A practical guide to marketing an event on tour’, Arts Council England, 2004. Whilst principally focused on the marketing of touring theatre, there are useful principles that can be applied in the context of touring exhibitions. Further advice, training and resources can also be sought through the Arts Marketing Association (www.a-m-a.co.uk).

A marketing and communications strategy might be fairly basic, relying on word of mouth, social media and a good press release, or it might be comprehensive and costly, using every possible means of promotional activity. It may be useful to engage a marketing and/or press consultant, to advise on all aspects of marketing and/or press for an important exhibition or reopening of a gallery.

The strategy for a touring exhibition, whether you are the exhibition organiser, or hiring the exhibition, should be considered and situated within your organisation’s wider marketing and communications, and audience development strategy.

The strategy should reflect:

• The nature and relative importance of the exhibition, e.g. is it a long-awaited exhibition on Impressionism with a national tour or a small environmental exhibition of appeal to local school children and `green’ enthusiasts; and how it will be positioned e.g. the first major retrospective for 40 years or free admission
• The range of audiences at which they will be targeted, and communication mechanisms that will be employed to reach them
• A list with dates of competing exhibitions at venues, identifying possible opportunities of collaboration
• Identifying any national and/or local marketing opportunities that the venues could ‘piggy-back’ their publicity events around e.g. Black History Month, The Big Draw, Museums & Galleries Month, Architecture Week
• The approach that will be taken to attracting press coverage
• Outline of the agreed strategy of branding the exhibition, and the manner in which the organisers’ brand and identity will be incorporated with that of the host venues
• If charging, each venue’s estimate for admissions and the organiser’s overall target numbers
• The total publicity budget, including input from venues and sponsors, e.g. will the latter contribute financially or in kind by donating editorial or advertising space.
• The availability of human resources at each stage, e.g. can an under-funded venue cope with a press launch or sponsor’s reception.
• The assigning of responsibilities, e.g. for mailings, design management, social media
• Time of year and seasonal factors that help or hinder, e.g. will people turn out in freezing February or will summer tourists boost admissions
• Tour length, e.g. a short tour needs early press coverage, whilst a longer one will need more servicing, press photographs and a budget spread over a longer period
• The availability of imagery, captions, credits and any copyright restrictions
• The names of the individuals involved in the approval process for all publicity material
• Details concerning the print production; if it is coordinated and scheduled by the exhibition organiser or if venues are responsible for producing their own materials, within given boundaries
• A timetable when organiser and venue can expect the various elements to be available

The branding and identify given to a touring exhibition should be carefully considered in the early stages of its development, so it remains clear and consistent for the duration of the tour. As touring activity is an important form of outreach for exhibition originators, those receiving touring exhibitions should expect to present the originator’s logo as well as their own. If both partners have strong brand guidelines, a compromise will need to be discussed, agreed and summarised in the hire agreement, together with details of sign-off procedures.

Achieving meaningful, targeted coverage in print, on TV and radio and online can be one of the most effective ways of attracting audiences to an exhibition. Often, though, organisations do not have the resources and experience in-house to mount a successful PR campaign. For touring exhibitions, it may be that both the exhibition organiser and the host venue have their hands full with their core programmes. One of the solutions can be to employ a PR agency.

Working with a PR agency has many advantages. With tried and tested skills, strategies and contacts, as well as the time to focus on media approaches, an agency can take the task of spreading the word about your exhibition off your hands. Clients also learn a lot from working with a PR agency, and pick up contacts for the future for themselves. A well-connected PR agency can provide introductions to VIPs and influencers, as well as journalists. Agencies are often adept at working with complex partnerships, and at handling sensitivities diplomatically.

Four Colman Getty, for example, works right across the cultural sector, from museums and galleries to performing arts venues, from the publishing industry to the art world. Clients have included mima in Middlesbrough, the Whitworth Art Gallery, Film and Video Umbrella, Jerwood Visual Arts, the Crafts Council and the Horniman Museum. Clients benefit from a broader outlook, as they bring perspectives from different areas of the arts to bear in creative ways. They are flexible about the way they work with clients. Sometimes they are taken on for a one-off project, at other times for a series of projects (which could be publicising a touring exhibition at each venue). Many clients work with them on an ongoing retainer basis, so that they can promote all of their work, and are on hand for consultancy.

There are some vital issues to bear in mind when thinking about working with a PR agency. The most important of these is timing. Don’t underestimate the amount of time that it will take to hone the messaging, strategy and materials in order to have the best chance of securing coverage. Added to that, some sections of the media have very long lead-times. If you want previews of your exhibition in glossy art or lifestyle magazines, your agency needs to be talking to the editors at least three months in advance, using press materials that have been drafted, discussed, amended and signed off. Having said that, with a really strong story, it is possible to deliver a great campaign in shorter lead media with just a few weeks? lead in time. For example, for an exhibition of previously unseen LS Lowry works at the Lowry in Salford, Four Colman Getty leapt into action, offering tailored exclusives to national press and achieved a news feature in The Guardian, a double-page feature in Sunday Telegraph Seven, a Sunday Times news story, an interview with the curator on BBC Radio 4 Today and two national television placements. But the more time you give your agency, the more they can achieve.

The most important things to look for in a PR agency are a track record, an enthusiastic but realistic attitude and an organised and creative approach. Do ask around your peers, and talk to a couple of agencies before making a decision. Don?t be afraid to ask for case studies and to look at previous examples of coverage. Make sure you are clear about what your expectations are, and be prepared to have them challenged. You will get the most out of your investment if you make sure you carve out some time for regular communication with your agency, even if it is just a short, regular weekly call.

Above all, a PR agency can help to shape the narrative around your exhibition or tour and make a real difference about how it is perceived.

The consultant will require a clear brief on the marketing and communications strategy. After being briefed, most consultants will draft a proposal containing their recommendations, and listing realistic objectives, tasks, and actions. Typical tasks to be proposed could include:

• Defining which media to target
• Commissioning a photographer
• Researching and copywriting the press pack
• Writing a press release, choosing press photographs and collating press packs
• Organising an advance press conference, photocall, press trip and/or press launch, liaising with celebrities
• Crisis management: part of the brief if the exhibition or an exhibit could attract controversy

Typical objectives could include obtaining an agreed amount of editorial coverage in the national press – the arts or features pages of the broadsheet newspapers, glossy magazines such as Vogue or Tatler, educational, tourist or specialist magazines, inclusion on BBC Radio 4’s Front Row or BBC 2’s Newsnight or on a radio or TV Breakfast programme – or, if it is agreed with the venue that this will be done centrally, obtaining local press coverage.

The consultant will also submit an estimate of their fee or daily rate and normal disbursements, unless asked to work within a specified budget. A regular reporting system should be set up, as convenient.

A final report should be submitted with the evidence of coverage achieved.

The exhibition or one of its showings may attract one or more sponsors, whose benefits will be agreed in their contracts with the organiser and/or the venues. Sponsorship may result in an unusually large publicity budget input, in which case it may be worthwhile to engage a marketing consultant or an agency or media-buying company.

Often sponsors will be seeking to raise their profile by publicity from participation in the event or alternatively they may wish to be totally discreet and unobtrusive. They will usually be credited on all publicity material as well as inside the exhibition itself, in a size and style that is agreed between organiser and sponsor. Credits are rarely big enough for the sponsor, and a prominence that is appropriate is often the subject of much careful negotiation. It is important that all print, press and advertising be checked with sponsors, and the exhibition’s production schedule may be extended by several days to allow time for such approval.

Sponsors may wish to entertain at each venue’s press and private views, or to hold their own private receptions, dinners, etc. This may involve the sponsor’s local manager making contact with each venue to negotiate the special arrangements, which might include:

• Invitation cards, e.g. number required
• Practical details, e.g. catering, cloakroom, parking, extra security, etc.
• Number of guests and – eventually – a guest list
• Location of drinks and food as permitted by insurance and indemnity
• Financial arrangements

Many sponsors (including any funders and media partners) often require as part of the sponsorship deal a post-exhibition report either at the start of the tour or following the period of the tour, which was sponsored. The post exhibition report would include a copy of the marketing strategy, the campaign and any evaluation.

Press coverage plays a very important role in informing the public about an exhibition or event and about an organisation. A press campaign should be an integral part of the marketing and communications strategy, to help convey key messages, increase visitor numbers and raise the profile of the exhibition and organisations involved. The news media will need some specific local or major national interest to justify a claim on space. The following guidelines may be helpful in getting exhibitions featured in the editorial (i.e. anywhere that is not a classified advertisement) columns of the local, national and international media, the broadcast news and the arts, diary or events sections of newspapers or magazines, websites and social media.

The amount of time and resources required to organise a successful PR campaign should not be underestimated. Advance planning is essential. The more important the exhibition, the earlier the press campaign should be planned.

Results are not achieved by merely sending out a press release or leaflet or by placing an advertisement in a local paper. It is most important to follow up all press releases and invitations to the media by telephone and personal contact.

At the same time, luck and certain qualities help: for example, if the exhibition involves a famous and articulate living person, who likes publicity, has local connections, is willing to give interviews and is photogenic; or if the exhibits are also photogenic and have never been seen before.

The organiser?s press officer, including any external press consultant appointed for the tour, should contact venues, and particularly their press or marketing officers, and the sponsor’s press officer, if appropriate, so they can all work together to agree individual priorities and to avoid duplication.

Working very closely with marketing and communications staff, the venue should define and set precise and specific objectives, identifying what it realistically hopes to achieve. When it decided to show the exhibition, the venue should also have decided whom it wanted to address, and what were the key messages that it wished to communicate. With this in mind, it should identify the most appropriate media to reach the target market. It is important to be selective, since each one requires a different approach and has its own timescale. It is very important to know the deadline for each newspaper, magazine or TV programme selected.

Sponsors will be looking for acknowledgement in any editorial coverage, which should be sought by the press officer at every possible occasion. Some publications willingly credit a sponsor, space permitting, others will categorically not. If in doubt – and to avoid what could be a difficult situation if a sponsor is not mentioned – the press officer may do a special `ring round’ the media expected to be reviewing the exhibition, to ascertain the current situation. The response from this exercise should be retained for the publicity report. A sponsor may offer help in kind from its own marketing or press department or advertising agency. Such expertise and advice can be very useful if it is tailored to the needs of publicising the exhibition.

Deadlines: It is very important to research and know the deadline for each newspaper, magazine, online posting or TV programme, so that work can be scheduled and co-ordinated accordingly. Ensure that this schedule is communicated internally to the key people in the organisation so that everybody is working towards the deadlines.

Press pack: The organiser should send or email a specified number of press packs to the venue well in advance of the latter’s showing. It should include the press release(s), a leaflet/guide, and details of the press images, and where they can be downloaded. It is best kept as simple as possible.

The purposes of the press pack are to be:

• Handed out at a press view
• Posted or emailed to the press who did not attend the press view
• Given to a journalist who arrives unexpectedly during the showing, e.g. at a weekend

Normally, each venue will expect to distribute any press release, invitations, press packs and photographs to its own press list or database of contacts in local radio and television, local newspapers, events and listings magazines. This list will include the names, addresses, email address, telephone and fax numbers of contacts known personally to the venue, who will be invited to events on the basis of their personal interest as well as company policy, and who should be identified and personally welcomed at press views.

The organiser should expect to complement this local coverage by arranging distribution of media information for national and/or specialist coverage as part of its overall publicity. Because of their detailed knowledge of the field, press consultants will be able to circulate this information to their own local or national contacts that are appropriate to the subject or nature of the exhibition.

Press release: The organiser should provide each venue with a press release, either in a final form or as a draft that the venue can adapt to its own format. In either case, the press release should include the wording of any acknowledgements to the organiser(s) and sponsor(s). The branding to be used should also be agreed between organiser and venue.

Although one press release is the norm, different press releases can be provided for a major touring exhibition. The organiser may provide press releases on the exhibition itself, the sponsor, details of prize-winners, catalogue and other merchandise, to which the venue could add any appropriate local angles or stories. Attractive merchandise may get editorial coverage in the national or local press, if specially promoted by the organiser or the venue in a press release circulated to shopping or women’s page editors. An important catalogue may be reviewed in the books pages, if circulated with the press release to literary editors or the appropriate critic.

For further guidance on writing press releases, see Art Council England’s guide to writing a press release: http://www.artscouncil.org.uk/advocacy-toolkit-resources (link updated 2017)

Photographs: The organiser should obtain or commission photographs of the exhibits, artists, originators, lenders and any other relevant subject, and clear all uses for publicity purposes with any copyright owners. High resolution jpeg images should be made available via email, or to download.

The following key information should be included with the images:

• Title of exhibition
• Credit to a sponsor
• Description/title of the subject of the photograph, with name of artist where relevant.
• Acknowledgement to lender
• Acknowledgement to the owner of copyright in the exhibit, if different
• Credit to photographer

Images for the press should be available several months in advance. This is particularly important for a major exhibition, which might attract national newspapers, magazines and television. Equally, it is important that venues have photographs sufficiently in advance for insertion in their own listings or to take advantage of local events and listings magazines.

At the beginning of the tour, the organiser should circulate to each venue a list of exhibits and the restrictions that apply to them on photography for different purposes e.g. education, television or film, newspapers, web, radio and web. It is essential that each venue receives and adheres to this list, which should be handed to any photographer or TV crew covering the exhibition. Copyright and use details should be included in the hire agreement.

Catalogues and/or guides should be provided free and in advance, whenever possible, for the specialist press who might be writing in depth, and for radio and television producers making programmes.

Press views: The following guidelines on organising a press view include extracts from How to Organise a Press Conference, by courtesy of Sue Rose:

Like the private view, a press view arranged by each venue may be part of the overall marketing strategy. Organiser and venue should agree who arranges the mailing and who should be invited. Mondays and Fridays should be avoided when planning a date for an out-of-London press view. Journalists may not show up on Monday because the venue has not been able to contact them the day before to remind them. Saturday papers may have limited space (although many are getting larger, with weekend sections) and a Friday opening is often too late for the Sunday papers.

Find out what other events may conflict, by ringing the press office of Arts Council England (which maintains a “clash chart” for all London arts press events) or of a national museum. Outside London, a phone call to a friendly arts reporter or editor on the local newspaper will be sufficient.

The best time to invite the press to view an exhibition is between 11 am and 1 pm, if the aim is to get coverage in the following day’s papers, as newspapers (certainly the nationals) tend to go to press about 5 pm. Hospitality should be provided, and entertaining can be more elaborate if a sponsor is involved.

If an exhibition warrants a press view, the organiser, curator and/or director of the venue, press officer, the artists, selector and a representative of the sponsor should be present, all with badges describing their role, and all primed to answer questions, e.g. how much the exhibition cost, the value of the sponsorship, the nature of any special or controversial exhibits, expected admissions, etc.

The press officer should give out the press material and catalogues at a press desk, where journalists should be asked to sign in and receive the press pack. Signing-in is partly for record purposes, partly as a way of welcoming new faces, and partly to ensure that those who did not attend can be sent the press pack.

Journalists might also be invited to visit a site associated with the subject of the exhibition, e.g. the home town of the artist represented in a retrospective. Travel and hospitality is normally provided, with costs shared between the organiser, the venue and a sponsor. A good deal of `chasing up’ will be necessary to fill the places. A press officer should accompany the journalists, providing press packs, catalogues and photographs on the journey and organising refreshments, taxis, etc.

If royalty or a celebrity is present at the press view or opening the exhibition at the private view, the chances for news coverage are much improved, particularly if the event is in the earlier part of the day, to catch the deadlines for the following day’s papers. When the royal rota (which strictly limits the number of press) is in operation, the press officer or curator should liaise with the appropriate royal press office for advice. Security is increasingly important on these occasions.

Filming & photocalls: For a major exhibition, it is sometimes necessary to arrange a special time for TV crews to film, e.g. a few days before the opening, or earlier in the morning, but normally it is within the press view. TV crews may comprise between two and ten people. The list of photographic restrictions should be given to each TV crew on arrival, and a member of staff should always stay with a TV crew, for reasons of security, conservation and practical help. A TV crew will need access to power points for lighting, unless hand-held lights are specified by the venue.

A photocall is held to obtain publicity by inviting photographers or TV companies to photograph an exhibition in the making or a specially-staged event which is eye-catching or newsworthy, e.g. unpacking or hanging a rarely-seen exhibit or a visit by a distinguished guest or elusive artist. It is possible to arrange an `exclusive’ with the picture desks of one or two newspapers or TV channels before the press view, for useful advance publicity. Again, the earlier part of the day is more appropriate.

Photocalls are arranged by sending or emailing an invitation entitled “PHOTOCALL” to the picture desks of national papers or press agencies, freelance photographers and to forward planning in TV news. The invitation should include:

• Date, time and place.
• Description of the event.
• Contact name and telephone number.

The exhibition press release should be sent at the same time, for background information. The invitation should be followed by a phone call to ascertain receipt (as they often get mislaid), their interest and acceptance and to discuss practical arrangements for parking, admission, lighting, etc.

It is useful for the organiser or sponsor to engage a photographer for publicity photographs for the monthly magazines or for the sponsor’s house magazine or annual report. This is also insurance, in case no-one turns up.

The success of the first #MuseumWeek in March 2014 with over 180,000 tweets by 40,000 people showed just how much social media can enhance the public’s engagement with and enjoyment of museums and galleries.

Social media has enabled everyone to talk to everyone. It provides wonderful opportunity for museums and galleries to increase their visibility; reach new audiences and deepen engagement. Social media allows you to show the expertise, personalities and passion within your organisation.

So what is the key to getting it right?

Creative content:

• Strong visuals are a must – quite simply the best images are the ones that get shared. Try to include one with all posts even if they are illustrative rather than directly related to the message
• Think about all your assets and whether these are interesting to share. Often the quirkier and more idiosyncratic are the most successful
• Content for social media doesn’t have to be professionally done – experiment with creating short films, gifs and vines
• If you are receiving a touring exhibition – what has been done before that you can build on? Connecting to a large campaign gives it more visibility and creates real and perceived links between you and other venues
• If you are doing a ‘behind-the-scenes’ post then take from an interesting angle or include one of your colleagues and create that human connection

Resource effectively:

• You don’t have to be on all platforms especially if resources are an issue. Pick ones that you feel right for the organisation
• Plan – there are many tools like Sprout Social and Hootsuite with which allow you to schedule things in during less busy times
• If you direct anywhere from your social media posts, make sure it is back to your own website where relevant and possible
• People use different social media platforms in different ways ? posting the same thing on multiple platforms can be effective as long as you tailor and tweak your copy
• Look at what other venues are doing – if they are successful, what can you take from that?

Collaborate:

• Get involved in initiatives like #MuseumWeek and #AsktheCurator – they are great ways to interact in one collective moment and it can get your tweets in amongst big-hitters like the British Museum and the V&A
• Encourage other members of the organisation to feed into ideas and indeed to take over the reins occasionally – a curator take-over day on Twitter or a volunteer?s favourite collection objects for Instagram
• Look at collaborative campaigns with other organisations ? it could get you more engagement by opening you up to new audiences

Engage:

• Follow and comment – not just with the public but with other organisations, media, and funders. Interesting conversations and relationships can start on social media
• Encourage dialogue but don’t have lengthy conversations. You can continue an interesting chat via private messaging rather than flooding your timeline with conversations that may only be of interest to a few
• Be aware of topical issues or trending topics so that you can respond or join in where relevant

And it goes without saying – analyse your activity (available through each platform itself or collated on platforms like Sprout Social). Look at what people are engaging with and plan content accordingly.

Finally social media should not be seen as a chore or an add-on – rather an integral form of communication when thinking about any of your activity. And don’t forget to be social – enjoy the interaction!

The exhibition organiser may arrange advertising in national newspapers and magazines at least for the first venue, and preferably at intervals during the tour, which may be complemented by local advertising arranged by each venue in their events magazine or newspaper. Local advertising should relate in style and content to national advertising to reinforce the latter and to act as a reminder to the potential audience which may have seen earlier advertising in the national press.

The organiser and the venue should agree who is responsible for booking space for national and local advertisements, poster sites, etc. The person responsible should check the notice required for the type of advertising wanted, and make a booking as soon as possible.

Several months’ notice is necessary for prime advertisement positions. Copy dates for print/artwork vary from a few days for a newspaper or website, to several weeks for a magazine. Most publications provide an advertising rate card, although rates can often be negotiated. Advertising space in newspapers and magazines is sold in units of the single column centimetre (scc) and costs vary according to position and circulation.

Whether they regularly place advertising or have not the time or the expertise, the organiser or the venue might employ an advertising agent or media-buying company. Either can advise on all manner of advertising and publicity and plan a specific campaign. The main difference between them is that an agency provides more creative services, e.g. design of advertisements, posters and leaflets, copywriting and production of radio and TV advertising (a marketing consultant does not buy advertising space or provide creative services, but could arrange them).

Some agencies charge a commission varying on the amount of space booked, but will nonetheless negotiate the most economical rates and deals. Occasionally, they will charge a fee as well, especially for creative services. They can be engaged for a one-off exhibition or by contract until further notice. If the budget is unusually large, due to a sponsor’s input, then it may be worthwhile engaging an agency or media-buying company.

Preferably the advertising agent or media-buying company should have experience in the cultural or heritage area. A small agency might be able to provide a better service than a large one more used to working on huge campaigns. Recommendation is the best way to find an agency, or by asking the organiser’s regional arts board, or audience development agency.

Performance can be measured over a period of time using criteria such as:

• Is the publicity producing more visitors, i.e. are the media correctly chosen and the timing right?
• Is the day-to-day service efficient?
• Is the creative material satisfactory?
• Is the expense justified?

Printed materials include posters, press and private view invitations, advertisements and leaflets, some or all of which will be useful to each venue.

Design and artwork for exhibition print may be provided by the exhibition organiser, or by the venue, dependent on the agreed strategy for marketing and communications, and branding. The graphic designer who designs the interpretation for the exhibition may also be responsible for the poster, leaflet, advertisements, banners etc. This can prove too much work for one freelance designer or small firm and can result in serious delays, so often two or more designers are involved. An advertising agency may also design publicity material, but this may be more expensive.

When commissioning design services, the organiser should:

• Set out the design brief clearly
• Request an estimate of costs
• Agree copy deadlines and quantities
• Supply copy, logos, images, photographs and credits
• Check and approve proofs for all designs
• Agree appropriate specifications for printing, e.g. weight and type of paper, waterproof/non-fade inks for outdoor posters, printing method, correction and proofing charges, run-on costs, production schedule, colour separation charges, etc.
• Agree who is responsible for obtaining comparative quotations from printers

The organiser must check the copyright of an image and gain clearance before using it (except for press purposes).

Private views are a vital part of exhibition publicity, as even the arrival of an attractive invitation can set off the process of word of mouth, as people clamour to be invited; so important to the successful exhibition. It is rare not to hold some kind of celebration of the opening of the exhibition, and this usually only happens when funding is very restricted.

A private view will normally be held in the evening, e.g. from 6 p.m. to 8 p.m., when refreshments are served either free or at a pay bar (depending on licensing arrangements). It is either preceded by or combined with the press view, depending on local conditions and convenience. Sometimes a celebrity will open the exhibition, in which case the press officer may need to be involved in order to arrange media coverage. If speeches are to be made, a platform, a microphone and a PA system may be necessary if the private view is held in a large space. Speeches should be kept to a few minutes’ duration if guests are standing.

A private view arranged by each venue may be part of the overall marketing strategy, in which case economies of scale will normally lead the organiser to arrange the design and printing of invitation cards, with matching envelopes if necessary, and the overprinting. The same card, with appropriate overprinting, can be used for the press view and for entertaining by sponsors.

Each venue usually has a private view list, increasingly on a database, consisting of the Friends organisation, local dignitaries and politicians, societies, artists, writers, designers, teachers, etc. to which should be added special names for the exhibition concerned. This is supplied by the organiser, and typically consists of funders, sponsors, selectors, committee members, exhibitors, lenders and catalogue contributors. Invitations are normally sent out two or three weeks in advance, or four to six weeks in advance for a special event.

Authors: Avril Scott (2005), updated by Charlotte Dew (2015)
Jill Read, Social Media (2015) Truda Spruyt, Working with a PR agency (2015)