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What is PROMOTION anyway?!

Within the 7P’s we can find the subheading called ‘Promotion’. Throughout the blog the focus is primarily this aspect of the marketing.

Promotion covers all the tools used for getting the message about the product to the target customers ... known as the marketing communications mix (or promotions mix). (Reic, 2017.) The majority of marketing tools used by Subfocus and the National Gallery are considered to be new marketing strategies and tactics, however the National Gallery do make use of more traditional promotional tools.

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Sub Focus - ENDLESS TICKET SITES

There’s a plague of websites promoting the sale of tickets for the event, here’s a list of just a few:

https://www.seetickets.com/event/sub-focus-live-manchester/victoria-warehouse/1187193 https://www.eventsinuk.net/event-sub-focus-live-manchester-manchester-3042995 https://www.ents24.com/manchester-events/victoria-warehouse/sub-focus/5208577 https://www.designmynight.com/manchester/whats-on/gigs/sub-focus-w-dismantle-rockwell  http://manchester.carpediem.cd/events/5318943-sub-focus-live-manchester-at-victoria-warehouse/ https://www.concertboom.com/manchesterunitedkingdom/2018/march/sub-focus-3813919/

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What is a Marketing Mix?

Simply put, a marketing mix is the careful planning and eventual execution of all avenues of a marketing operation. The well planned marketing mix provides an appropriate product/ service being delivered to a well understood target audience at the best time and and the right price to stimulate usage and sales. 

Typically the marketing mix is formed using the 7P’s (originally the 4P’s from E. Jerome McCarthy, 1960). 

As noted in the adjoined image the 7P’s are the following: Product, People, Price, Place, Promotion, Process & Physical Evidence.

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Monet & Architecture - BBC Report

BBC arts editor Will Gompertz has produced a comprehensive review of the exhibition, rating it 4 out of five stars. 

The full report can be found here:   http://www.bbc.co.uk/news/entertainment-arts-43745227

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Monet & Architecture - FACEBOOK

The National Gallery takes great effort to keep their Facebook up to date with all the latest happenings in the gallery. They have posted about the exhibition four times five times since the start of April and will most likely continue to over the course of the exhibition being live.

They even include regular live video’s, which isn’t even used by the most prominent of marketers today.

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Monet & Architecture - VIDEO 

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Monet & Architecture - PRESS RELEASE

9 April – 29 July 2018 Sainsbury Wing Admission charge

In a landmark show at the National Gallery in spring 2018 – the first purely Monet exhibition to be staged in London for more than twenty years – there is a unique and surprising opportunity to discover the artist as we have never seen him before.

Detail of Claude Monet, ‘The Grand Canal (Le Grand Canal)’, 1908 © Fine Arts Museums of San Francisco. Gift of Osgood Hooker 1960.29

We typically think of Claude Monet as a painter of landscape, of the sea, and in his later years, of gardens – but until now there has never been an exhibition considering his work in terms of architecture.

Featuring more than seventy-five paintings by Monet, this innovative exhibition spans his long career from its beginnings in the mid-1860s to the public display of his Venice paintings in 1912. As a daring young artist, he exhibited in the Impressionist shows and displayed canvases of the bridges and buildings of Paris and its suburbs. Much later as an elderly man, he depicted the renowned architecture of Venice and London, reflecting them back to us through his exceptional vision.  

More than a quarter of the paintings in 'The Credit Suisse Exhibition: Monet & Architecture’ come from private collections around the world; works little-known and rarely exhibited.

Buildings played substantial, diverse, and unexpected roles in Monet’s pictures. They serve as records of locations, identifying a village by its church ('The Church at Varengeville, Morning Effect’, 1882, Collection of John and Toni Bloomberg. Promised gift to The San Diego Museum of Art.), or a city such as Venice ('The Doge’s Palace’, 1908, Brooklyn Museum, Gift of A. Augustus Healy 20.634), or London ('Cleopatra’s Needle and Charing Cross Bridge’, about 1899–1901, Eyles Family courtesy of Halcyon Gallery) by its celebrated monuments.

Architecture offered a measure of modernity – the glass-roofed interior of a railway station, like The Gare St-Lazare (1877, The National Gallery, London) – whilst a venerable structure, such as 'The Lieutenance de Honfleur’ (1864, Private Collection), marked out the historic or picturesque.

Architecture aided Monet with the business of painting. A red-tiled roof could offer a complementary contrast to the dominant green of the surrounding vegetation ('From the top of the Cliffs, Dieppe (Du haut des falaises, à Dieppe ou La falaise à Dieppe’), 1882, Kunsthaus Zürich, Vereinigung Zürcher Kunstfreunde). The textured surfaces of buildings provided him with screens on which light plays, solid equivalents to reflections on water ('Rouen Cathedral’, 1893–4, Private Collection).

A man-made structure helps the viewer engage with the experience of a Monet landscape. A distant steeple ('The Church at Varengeville’, 1882, The Barber Institute of Fine Arts) or nearby house ('Gardener’s House at Antibes’, 1888, The Cleveland Museum of Art, Gift of Mr. and Mrs. J. H. Wade), are marks of scale, responding to our instinct to read our physical surroundings in terms of distance, destination, and the passage of time involved in transit. Architecture can stand in for absent human presence and suggest mood, whether it be awe at the grandeur of a historical monument ('San Giorgio Maggiore’, 1908, Private Collection), thrill at the vitality of a teeming city street ('The Pont Neuf’, 1871, Dallas Museum of Art, The Wendy and Emery Reves Collection), or loneliness at the solitude of the clifftop cottage ('The Custom’s Officer’s Cottage, Varengeville’, 1888, Harvard Art Museums/Fogg Museum, Bequest of Annie Swan Coburn, USA).  

'Monet & Architecture’ will be displayed in three sections – 'The Village and the Picturesque’, 'The City and the Modern’, and 'The Monument and the Mysterious’ – and will explore how one of the world’s best-loved painters captured a rapidly changing society though his portrayal of buildings.

It will feature a rare gathering of some of Monet’s great ‘series’ paintings – five Dutch pictures from trips made in the early 1870s, 10 paintings of Argenteuil and the Parisian suburbs from the mid-1870s, seven Rouen Cathedrals from 1892–5, eight London paintings from 1899–1904, and nine Venice canvases from 1908.

'Monet & Architecture’ will feature exceptional pairings, such as both paintings of the church at Vétheuil, which Monet made immediately on arrival in the village in late 1878 (one Scottish National Gallery, the other Private Collection). One was shown at the 4th Impressionist exhibition in 1879, and the other at the 7th in 1882, but they have never been seen together. The National Gallery’s well-known The Thames below Westminster (1871) will be seen alongside a picture of the beach at Trouville (1870, Private Collection), made only months before with the same size canvas and a very similar composition.

Many world-famous and much-loved Monet pictures will be travelling to London: the 'Quai du Louvre’ (1867, Gemeente Museum, Den Haag), one of his first cityscapes; the 'Boulevard des Capucines, Paris’ (1873, The Pushkin State Museum of Fine Arts, Moscow) shown at the first Impressionist exhibition in 1874 where it aroused controversy; and the flag-filled 'The rue Montorgeuil, Paris, The National Holiday of 30 June, 1878’ (Musee d’Orsay) made to celebrate the celebration of a national holiday. Through buildings Monet bore witness to his location, revelling in kaleidoscopic atmospherics and recording the play of sunshine, fogs, and reflections, using the characteristics of the built environment as his theatre of light. He said in an interview in 1895 “Other painters paint a bridge, a house, a boat … I want to paint the air that surrounds the bridge, the house, the boat – the beauty of the light in which they exist.”

The exhibition is curated by Monet scholar Richard Thomson, Watson Gordon Professor of Fine Art at the University of Edinburgh. He says:

“It is a guest curator’s dream to be able to bring so many arresting paintings by such a great artist together and to combine them in groupings which bring out new ways of seeing his unrivalled work.”

Director of the National Gallery, Dr Gabriele Finaldi, says:

“Monet’s sensibility to the fall of light across buildings, bridges, and water continues to astound today’s audiences. His images of Rouen, Paris, and London have become part of the visual landscapes of our imagination.”

David Mathers, CEO of Credit Suisse International, says:

“We are delighted to be sponsoring 'Monet & Architecture’ during the 10th anniversary of the partnership between Credit Suisse and the National Gallery. This landmark exhibition will showcase a bold reinterpretation of Monet’s paintings. With more than a quarter of the works in the exhibition drawn from private collections around the world, often little-known or rarely exhibited, this will provide a unique opportunity to experience these paintings in a very innovative and imaginative context.”

NOTES TO EDITORS

Opening hours

Location: Sainsbury Wing Press view: 5 April 2018 (10.30am–1.30pm) Open to public: 9 April 2018 Daily 10am–6pm (last admission 5pm) Fridays 10am–9pm (last admission 8.15pm)

Admission charge Members and under-12s (ticket required) FREE

Booking tickets

For advance tickets to 'The Credit Suisse Exhibition: Monet & Architecture’, please visit www.nationalgallery.org.uk or call 0800 912 6958 (booking fee). You can also book tickets in person from the Gallery.

Overseas customers can contact us by dialling +44 020 7126 5573.

Book online and save.

Credit Suisse AG

Credit Suisse AG is one of the world’s leading financial services providers and is part of the Credit Suisse group of companies (referred to here as 'Credit Suisse’). As an integrated bank, Credit Suisse offers clients its combined expertise in the areas of private banking, investment banking and asset management. Credit Suisse provides advisory services, comprehensive solutions and innovative products to companies, institutional clients and high-net-worth private clients globally, as well as to retail clients in Switzerland. Credit Suisse is headquartered in Zurich and operates in over fifty countries worldwide. The group employs approximately 46,720 people. The registered shares (CSGN) of Credit Suisse’s parent company, Credit Suisse Group AG, are listed in Switzerland and, in the form of American Depositary Shares (CS), in New York. Further information about Credit Suisse can be found at www.credit-suisse.com.

For further information, please contact the National Gallery Press Office on 020 7747 2865 or email press@ng-london.org.uk

Publicity images can be obtained from  http://www.nationalgallery.org.uk/about-us/press-and-media.

https://www.nationalgallery.org.uk/about-us/press-and-media/press-releases/the-credit-suisse-exhibition-monet-architecture

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Monet & Architecture - WEBSITE

The National Gallery website is presenting the exhibition on the homepage of it’s website.  As the gallery is based in London it’s audience will be highly international, the exhibitions it houses are works by world renowned artists. Unfortunately exact attendance levels are the gallery are not available however through first hand experience during off-peak times I can confirm there is a contact footfall to the gallery. 

I believe there are two kinds of attendees to the gallery: Firstly; like myself, there will be attendees whom are simply visiting London and spending the day exploring multiple locations. During my visits I have never looked into what exhibitions are running, rather I have just turned up with the exception that the event will be world class. Secondly; attendees with a preference towards art and culture, such as my grandmother, she was an avid painter her entire life and often took trips to London to visit the National Gallery and other galleries to experience exhibitions of artists she has interest in.

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Sub Focus - FACEBOOK

View social media page here: https://www.facebook.com/subfocus/

No. of likes: 533,237

No. of followers: 513,982

Average communications per week: 2

As I’m sure you’re aware; Facebook is the number one social network in the world followed  by YouTube and then Twitter. Sub Focus use Facebook for very specific marketing communications, rather than using it as a platform to update fan’s on their day to day activities they use it purposefully to provide information on musical releases and events. 

The latest post was on the 12th of March. Sub Focus performed via a live broadcast directly to Facebook for an hour. This was to promote the release of his new single. Using Facebook live is a great tool to reach any followers who’re currently active on Facebook or have notifications allowed on their phones. As it’s a live stream a notification will appear on every device to say he is currently broadcasting live. His intention will be that people will leave his live set playing in the background, if the performance is of a good quality this may then entice followers to want to see him live.

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Two dissimilar events and their marketing

This blog will be a portfolio displaying, analysing and comparing the marketing efforts used to promote two dissimilar events:

The Credit Suisse Exhibition: Monet & Architecture @ The National Gallery 09 April - 29 July 2018 More information here

&

Sub Focus LIVE @ Victoria Warehouse 31 March  More information here