TEM 2015 Istanbul September 2015 Gerri Morris - - PowerPoint PPT Presentation

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tem 2015 istanbul september 2015 gerri morris introducing
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TEM 2015 Istanbul September 2015 Gerri Morris - - PowerPoint PPT Presentation

Apr 11, 2024 613 likes •1.75k views

TEM 2015 Istanbul September 2015 Gerri Morris Introducing Morris Hargreaves McIntyre Strategy and insight consultancy Culture, heritage, leisure and charities sector 18 years experience of the

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TEM ¡2015 ¡ Istanbul ¡ ¡ September ¡ ¡2015 ¡ ¡ Gerri ¡Morris ¡

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Introducing Morris Hargreaves McIntyre

Strategy and insight consultancy Culture, heritage, leisure and charities sector 18 years experience of the sector and cultural audiences 46 f/t staff; 3 offices – Manchester; London; Auckland International client base Including many major world class museums: British Museum; Tate; Royal Academy; National Gallery; Natural History Museum; Wellcome Collection; Historic Royal Palaces; Art Institute Chicago; Philadelphia Museum of Art; Te Papa; Historiska

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Introducing the project

London – major centre for exhibitions Yet little was actual known about the audience All venues fishing in the same pond Planning with little insight Collective research project could benefit them all Collaborative project involving 16 venues

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Introducing the project

We collected and analysed data on

  • ver 240 paid-for exhibitions at 22 London venues

From this we analysed:

  • Exhibition types
  • Audience sizes
  • Marketing spend
  • Lifecycle curves
  • Return on marketing investment
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Methodology

  • Desk research
  • Population survey – 2600 – May 2012
  • 6 Focus groups
  • Online panel surveys

To give each venue an individual market report exploring profile, responses and behaviour at their venue and at paid-for exhibitions in general. Plus a general report and public version

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Methodology

The data represents the audience for London temporary exhibitions in England only Focus is on art and historical exhibitions Overseas visitors are not represented But the findings and implications affect all audiences whatever their origin

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Amazing Stats

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Amazing stats

140 Exhibitions in 3 year period

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Amazing stats In one year…..

2.3m people make 4.6m visits

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Amazing stats

135k people have seen 6+

exhibitions within past 12 months (3%)

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Amazing stats

1m people would take a day off

work to see an exhibition

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Amazing stats

2.4m people would plan a trip to

London specifically to see an exhibition

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Amazing stats

1m people spontaneously turn up

  • n the day
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Amazing stats

264k turn up on last weekend

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Motivations

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Deep appeal

Visitors are compared successful exhibitions with multi- dimensional theatrical experiences – but better: They provide new ways of seeing the world Deliver profound personal benefits Intense social, intellectual, emotional and spiritual outcomes Puts the visitor in charge of their own experience Deeply fulfilling

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‘I walked out and spent the whole of the rest of day feeling really different about

  • things. I can’t really explain what it was – I

think it was a bit of perspective’ ‘We only eat out now if it’s a special

  • ccasion. But we have to go to an

exhibition or gallery every week. We prefer to feed our minds……..’

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Motivations: Social

‘I find going to an exhibition, I suppose more sociable than going to the theatre or to a concert. When you’re sat in a theatre or a concert, you watch the performance and then you talk about it. Whereas at an exhibition, if something pops into your mind, you can talk about it then’ ‘I think it’s a good way to spend time with friends as well’ ‘Seeing people interact with art is a ball!’

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Motivations: Intellectual

‘I prefer historical things … so if I learn a lot more, wanting to know a lot more afterwards’ ‘I think it expanded my knowledge’ ‘Finding out things that I never knew before because it leads you to do other things’

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Motivations: Emotional

‘If a good exhibition has an emotional pull .. I think some exhibitions are like that, where there’s a history that comes out of the objects, and kind of grabs you ’ ‘There was nobody else around, we could just sit, or stand with it (the art work) and she was … actually blown away, and to have that intimacy with the art, and that relationship with the art it is an innate part of the experience isn’t it?’

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Motivations: Spiritual

‘I find living and working in London kind of drains my soul, and I

think when you go to something and it lifts you … it gives you a bit

  • f hope … it gives you bit of your soul back’

‘It is almost like this transcendental experience, you are just tripping out’ ‘After seeing someone like Hockney which is an artist I’ve never really known much about before, I felt quite inspired after that. You just feel a little bit more alive afterwards’

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Market trends and motivations

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The Market is huge

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Market size – London paid for exhibitions

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Market size – Venue A

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Market size - regions

11% of the potential market lives in London 89% of the potential market lives elsewhere in England 16% of the potential market lives in the North West

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Brand strength determines market size

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Who attends?

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Interest in the programme

Potential audiences

62% 55% 55% 50% 49% 40% 39% 38% 38% 36% 31% 31% 0% 10% 20% 30% 40% 50% 60% 70% history famous artist ancient treasures painting photography collection displays archaeology artifacts British traditional architecture drawings

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Culture Segments

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Motivations

¡

¡ ¡ ¡

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Ri Risk sk ¡

¡ ¡ ¡

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Dec Decision ion to

  • visit
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Decision to book or visit

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Building widest appeal

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Visitor clusters: Creatives

47% creative/ cultural industries; 19% work in museums Young - 51% - 16 -34; 27% Londoners Exhibitions main cultural activity for 57% Closely follow favourite venues; 1 in 7 are members/ friends Engage deeply; part of cultural conversation Ear to the ground – on lists; use social media; on site Early and savvy bookers 44% would visit during Lates Willing to pay premium for added value High spenders - £17.43 for blockbuster; Spend £18.93 in venue; £83.52 elsewhere

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Expression ¡

¡

¡ ¡ ¡

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Visitor clusters : Risk takers

Discerning, culturally active, highly qualified but not experts Londoners Voracious and omnivorous museum/ gallery attenders – 7+ visits a year; interested in massive range of topics – contemporary –

  • archaeology. Value them higher than gigs or meals

Want to improve their knowledge but also seek deeper benefits – 39% reflection; 30% food for the soul Hunt for exhibitions to attend – 51% look on venue websites; 35% underground Use own judgement - 69% but slower to act -44% when they get around to it Crowd sensitive – 45% want less busy opportunities Price resistant - £15.20 blockbuster ; £14.73 per head on -site

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Essence ¡ ¡

¡

¡ ¡ ¡

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S-mula-on ¡

¡

¡ ¡ ¡

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Visitor Clusters: Cautious Gamblers

Mainly Enrichment Fit exhibitions into busy life; live outside London Low frequency; apologetic Emotional, sensory benefits as well as social (45%) High users of café, restaurant and shop but low spenders £14.81 in venue; £50 on the day 50% influenced by WOM; 41% TV programmes Mainstream tastes; history, archaeology - 53% ancient treasures Not wily bookers – unaware of need to pre-book

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Enrichment ¡

¡

¡ ¡ ¡

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Visitor Clusters: Safety Firsts

Mainly Perspective Older – 27%over 65 Live outside London; fulfilled lives; inner directed but risk averse Low frequency; make stand alone trips Generic tastes; 68% history, 53% ancient treasures Stick to well known venues Influenced by above the line channels – newspapers; TV; underground High users of café, restaurant and shop Not wily bookers – tend to just pitch up

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Perspec-ve ¡

¡

¡ ¡ ¡

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Visitor Clusters: Conservatives

Mainly Affirmation, Release , Entertainment Lower priority, background activity fitted into busy lives Low frequency; looking for entertainment Passive – wait for friends to tell/ invite them Stick to high profile shows at well known venues Influenced by above the line channels – newspapers; TV; underground High spenders - users of café, restaurant and shop £17.30 for blockbuster ticket

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Affirma-on ¡ ¡

¡

¡ ¡ ¡

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Release ¡ ¡

¡

¡ ¡ ¡

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Entertainment ¡

¡

¡ ¡ ¡

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Five levels of exhibition

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Obscure 1,619k In-the-know 4,783k Familiar 6,162k Household name 6,777k Blockbuster 9,744k Potential market for exhibition levels by visitor cohort Creatives Risk takers Cautious gamblers Safety firsts Conservatives 20% 316k 44% 714k 12% 202k 12% 195k 12% 192k 14% 1,396k 22% 2,181k 22% 2,137k 23% 2,220k 19% 1,810k 15% 1,023k 22% 1,470k 23% 1,525k 23% 1,553k 18% 1,206k 16% 984k 28% 1,724k 18% 1,136k 20% 1,235k 18% 1,083k 15% 695k 30% 1,421k 18% 848k 22% 1,075k 16% 743k

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Willingness to pay

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£2 £4 £6 £8 £1 £3 £5 £7 £9 £10 £11 £12 £13 £14 £15 £16 £17 £18 £19 £21 £20 £22 £23 £25 0% 20% 40% 60% 80% 100% A 84% would pay £10 Income £2.1m B 55% would pay £15 Income £2.1m C 35% would pay £16 Income £1.4m D 33% would pay £20 Income £1.7m Maximum price potential visitors would pay for a Blockbuster exhibition % of potential market willing to pay Maximum price (£)

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Marketing Spend

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Marketing spend

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Niche band

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Culture Band

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Mainstream Band

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Managing ¡the ¡Lifecycle ¡

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Demand Time Pre-sale Launch honeymoon Soggy / healthy middle Marketing push Last week Ideal exhibition lifecycle Typical exhibition lifecycle Exhibition lifecycle from pre-sale to closure

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Demand Time Pre-sale Launch honeymoon Soggy middle Marketing push Last week How visitor cohorts drive typical exhibition lifecycle Creatives Risk takers Cautious gamblers Safety firsts Conservatives

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Demand Time Pre-sale Launch honeymoon Healthy middle Marketing push Last week How visitor cohorts drive ideal exhibition lifecycle Creatives Risk takers Cautious gamblers Safety firsts Conservatives

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AIDA decay for paid-for temporary exhibitions in London Whole market (100%) Attract attention (50%) Arouse interest (25%) Stimulate desire (12%) Take action (6%) See exhibition (3%)

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Obscure 1,619k In-the-know 4,783k Familiar 6,162k Household name 6,777k Blockbuster 9,744k Potential market for exhibition levels by visitor cohort Creatives Risk takers Cautious gamblers Safety firsts Conservatives 20% 316k 44% 714k 12% 202k 12% 195k 12% 192k 14% 1,396k 22% 2,181k 22% 2,137k 23% 2,220k 19% 1,810k 15% 1,023k 22% 1,470k 23% 1,525k 23% 1,553k 18% 1,206k 16% 984k 28% 1,724k 18% 1,136k 20% 1,235k 18% 1,083k 15% 695k 30% 1,421k 18% 848k 22% 1,075k 16% 743k

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1.62m 4.78m 6.16m 6.78m 9.74m Obscure In-the-know Familiar Household Blockbuster Market decay by exhibition level 3–5.8% 220k–900k 140k-285k 95k-255k 75k-170k 50k–95k 1.5–3.5% 1.5–4.1% 2–4.2% 2.2–9.2%

Actual market sizes Potential market sizes

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What can we do with this insight?

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Formative evaluation

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Concept testing

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Defining the market Committed Enthusiastic Curious Unenthused

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Half the market are curious

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Appealing to the Culture Segments

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Targeting Essence, Expression, Stimulation

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Minimising decay

e

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Identifying critical success factors

  • Providing visitors with the stories they desire

‘The best exhibitions, they’ve some sort of cohesion. There is a narrative to the story. You come away and you are either appalled or educated or enlightened or it just took your breath away.’ Stimulation

  • Differentiated images/ messages/ activities/ campaigns for different segments or clusters
  • Providing sufficient information to enable quick word of mouth recommendation
  • Work hard on the proposition
  • Poster images and copy that fuel positive expectations
  • Outcome-focused visit experience to ensure high satisfaction and strong word of mouth
  • Maximising opportunities to visit
  • Over-turning perception its sold out
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Identifying critical success factors

  • ATTRACT
  • ENGAGE
  • OUTCOME

¡

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Maximising income

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Proposition testing

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A title that holds promise

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Testing messages

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The ¡objec-ves… ¡ ¡

¡

  • Exhibi@on ¡@cket ¡sales ¡target ¡of ¡60,000 ¡
  • Drive ¡secondary ¡spend ¡(membership, ¡merchandise ¡

sales ¡and ¡catering ¡opportuni@es) ¡ ¡

  • Engage ¡audiences ¡in ¡London ¡and ¡South ¡East ¡
  • Posi@on ¡the ¡Bri@sh ¡Museum ¡as ¡a ¡venue ¡for ¡

contemporary ¡art, ¡and ¡the ¡collec@ons ¡as ¡an ¡on-­‑going ¡ source ¡of ¡inspira@on ¡

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Recogni(on ¡of ¡Grayson ¡Perry ¡(Clare) ¡ ¡

¡

¡ ¡ ¡

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Interest ¡in ¡Grayson ¡Perry ¡as ¡an ¡ar(st ¡ ¡

¡

¡ ¡ ¡

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Amount ¡would ¡pay ¡

¡

¡ ¡ ¡

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Seeing it in this context and the whole idea… the way he takes something that is very staid and traditional like ceramics and makes social commentary art out of something that is essentially very staid. That might relate to collections in the British Museum which are iconographic and ceramics as well and so immediately it has that kind of conversation and intriguing Essence

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¡ ¡ ¡ If ¡you ¡did ¡an ¡audience ¡with ¡Grayson ¡Perry ¡that ¡would ¡be ¡something ¡for ¡the ¡ diary ¡and ¡you ¡could ¡get ¡8ckets ¡and ¡come ¡along ¡and ¡see ¡the ¡exhibi8on ¡and ¡ have ¡the ¡chance ¡of ¡a ¡ques8on ¡and ¡answer ¡session ¡and ¡if ¡there ¡is ¡an ¡evening ¡ a=erwards ¡and ¡the ¡bar ¡was ¡open. ¡Yeah ¡I ¡think ¡that ¡would ¡be ¡a ¡great ¡event ¡ ¡ S-mula-on ¡

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You are in such danger if you have things at celebrity level because you are automatically going to divide people into those who like or don’t like that particular celerity… I wouldn’t run because it is Grayson Perry. It wouldn’t particularly put me off but I wouldn’t come running because it is curated by

  • him. I’d wonder, well why is he curating it?

Expression

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The ¡results… ¡ ¡

¡

  • Website ¡views ¡increased ¡by ¡over ¡50% ¡during ¡the ¡

exhibi@on ¡period ¡ ¡

  • Word ¡of ¡mouth ¡recommenda@ons ¡increased ¡by ¡
  • ver ¡50% ¡
  • London-­‑based ¡visitors ¡to ¡the ¡Bri@sh ¡Museum ¡

increased ¡by ¡50% ¡

¡

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The ¡results… ¡ ¡

¡

  • 112,194 ¡@ckets ¡sold ¡(£10), ¡target ¡of ¡60,000 ¡ ¡
  • Merchandise ¡sales ¡500% ¡above ¡target ¡
  • Over ¡800 ¡bookings ¡for ¡catering ¡themed ¡dinner ¡

packages ¡and ¡high ¡take ¡up ¡for ¡aTernoon ¡tea ¡

  • All ¡events ¡reached ¡capacity; ¡Grayson ¡Perry ¡event ¡

live ¡streamed ¡into ¡second ¡theatre ¡due ¡to ¡200% ¡ bookings ¡

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Balancing proposition with experience

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Summative evaluation

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Push AIDA

Maximise conversation from attention to action in the natural market, through:

  • Increasing awareness across

potential market

  • Targeted marketing: messages and timings
  • Monitor and respond to box office data
  • Formative research

Shift exhibition type

Increase the potential market size through:

  • Balancing the proposition to widen appeal
  • Extending opportunities to visit
  • Concept testing

Maximise income

Set prices to maximise take-up and revenue, through:

  • Encouraging word of mouth
  • Price point testing
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Strategy

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Thank you! www.mhminsight.com/segment me

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SITE Reports Strategic insight for temporary exhibitions