VISION (CLORE LEARNING CENTRE, TATE MODERN):

A more integrated approach to learning and awareness at Tate

“We have developed a more artist-led, workshop-oriented approach to learning and awareness at Tate which is more VISUAL and ENGAGING and ENCOURAGES PARTICIPATION.[…]

Far removed from the classroom feel of old, the Centre is filled with laboratory spaces in which visitors can come to experiment, ask questions and have discussions, and make their own way by means of response and exploration. I hope that visitors of all ages will come and enjoy them and that this in turn encourages them to develop a depth of understanding and a lifetime love of gallery-going”

Anna Cutler, Director of Learning, Tate

The Economic Impact of Tate Modern

1. The estimated economic benefit of Tate Modern is around £100 million, of which £50—70 million is specific to Southwark.

2. The number of hotel and catering businesses in the local area has increased by 23% from 1997-2000. This has led to an estimated 1800 new hotel and catering jobs in the Southwark area.

3. Property prices and commercial investment levels are increasing faster in Southwark than London averages

4. Commercial development in Southwark has outpaced the London average. As has the increase in the number of new businesses.

5. Approximately 3,000 jobs have been created in London, of which about just over half are specific to the Southwark area •6. Tate Modern itself has created 467 jobs in addition to 283 during the construction phases.•7. Currently 35% of those employed at Tate Modern come from the local area.

Tate Marketing

Tate aims to attract new and repeat visitors to its various sites to see the collection displays and special exhibitions. This is part of a key Tate objective: to work towards increasing knowledge, understanding and appreciation of British and Modern art throughout Britain and internationally.

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Tate Communications in London works specifically on promoting exhibitions at both Tate Modern and Tate Britain, along with the public events programme, café, restaurant, shop and membership schemes. The department comprises eighteen people who between them handle press and broadcast media, print production and distribution, advertising, visitor research, Tate online and promotions.

Tate Logo  

There are a number of variations of the Tate logo. They range from a standard logo to a blurred version, a faded version and a halftone version (dots rather than smooth fading).

The Tate mark helps to build a brand that is fresh and fluid, but has some consistency – one Tate, with constantly changing expressions.

There are eighteen colours in the palette, to reflect different moods and styles.

Tate Typeface

The special Tate typeface is clear, contemporary and distinctive.

Its benefits are:

Character: giving people who may not have visited the galleries an idea of the Tate personality. e.g. 'contemporary but not trendy', 'challenging but not intimidating' Clarity: it is simple, clear and bold, for impact and accessibility Connections: the identity links all the diverse activities that come under the Tate umbrella, so that successive items build a cumulative sense of Tate's diverse collection and programme. Hence, its fluidity.Recognition: each item can quickly be identified as Tate's.Quality: an agreed high standard applies in many different contexts and materials, from advertising to the website, from merchandise to gallery uniforms Practicality: the identity enables Tate to commission design efficiently.

ADVERTISING STRATEGY Tate's advertising focuses on four main areas:

1. major paying exhibitions 2. displays of the Tate collection at each gallery 3. major initiatives such as the launches of Tate Britain and Tate Modern events and education

Before any advertising is planned, the Director of Communication, Press Officer and the Marketing Manager develop a communication plan. This covers advertising and press coverage, promotions, ticket offers, print production and distribution, and on-line promotion through the Tate website. It includes:

1. a basic outline of the exhibition 2. the attendance target 3. a description of the target audience/s 4. the budgets available 5. planned communications activity

Social Media

Tate’s Social Media Strategy aims to help fulfil Tate’s mission to increase public understanding and enjoyment of British and modern international art. We also want to sustain, build and broaden the range of audiences who experience Tate. We want to develop our current audiences and build new audiences for the future – in particular by focusing on a more diverse range of young people. 

Visitor Research

Tate researches its visitors through a regular tracking study, carried out three times a year, with a more in-depth qualitative survey every three years. This enables us to understand our visitors and respond to their views, while questions on media readership and motivation to visit enable us to identify likely new visitors and the best ways of reaching them. In addition this research enables Tate to communicate particular messages to particular groups at particular times. Methods include targeted advertising, direct mail campaigns and print distribution and generic promotional partnerships with other organisations.

Regeneration & Community Partnerships

  

Increased and more meaningful engagement with our audiences and community partners is central to the Tate strategic plan 2005 – 2008.Over the last ten years Tate has pioneered the “Social Model” of a museum

Tate’s Community Strategy  

1. Seeks to involve communities and encourage partnerships across the whole of Tate’s business and activities. 2. Places the museum in the centre of the areas they are situated. This involves being socially responsible for the impact a major visitor attraction has on its locality and becoming involved in the ongoing development of those areas. 3. For Tate “community” equals “society” and our work involves a broad range of relationships with business, cultural, tourism and residents’ partners. 4. Tate works in a variety of local, national and international partnerships. Increasingly we aim to connect communities and audiences across these areas.

Key Principals 

1. Encourage dialogue and learning with and from our communities.

2. Democratise the work of the museum.

3. Create projects and partnerships which are active, participatory and empower communities in developing our work.

4. Put artists and creative practice at the heart of community projects.

5. Partnerships with other cultural organisations to engage communities in new dialogues.   

Key Projects / Initiatives START – Workplace Co-ordinator for Arts and Culture is an employment project which gives unemployed adults in Southwark opportunities to work in the cultural sector. The project provides a range of support including pre-employment training, interviews skills, CV development and post employment support to successful candidates. COMMUNITY GARDEN TATE MODERN – A garden has been created through a range of partnerships with Bankside Open Spaces Trust and local residents, as a dedicated space for those that live near to the gallery. A large scale consultation and steering group representative of the local community, has and continues to play a significant part in developing the space. 

COMMUNITY FILM CLUB – A programme of films connected to South London. Available to those who live or work in Southwark or Lambeth the initiative has attracted a diverse audience, some of whom are non traditional gallery goers and has helped to break down the barriers that some of these audiences face. The community film club’s aim is to strengthen community cohesion and engage a wide range of community members. Membership currently exceeds 1000.

LATE AT TATE – night events events related to film, music, kaparte promotions etc

 Sustainability at Tate

Since 2008 Tate has aimed to become a leader in museum sustainability and to influence the museums and galleries sector to adopt more sustainable environmental practices. Energy efficiency improvements, together with the continued commitment of staff, have enabled energy use and carbon emissions to continue to fall. As a result, Tate achieved its target of a ten percent reduction in carbon emissions from 2008–09 to 2010–11.

In the summer of 2010, beehives were placed on the roofs at Tate Britain and Tate Modern, thanks to a suggestion from artist Susanna Heron. The bees contribute to urban biodiversity, and the honey is sold in Tate’s shops. As a result of its efforts, Tate received the Carbon Trust Standard award for a second time and a platinum Green500 award from the Mayor of London for sustained reduction in carbon emissions.

Want to volunteer at Tate?

Volunteers at Tate are involved in front-of-house roles at all four of our galleries, as well as a few behind-the-scenes roles. For some people, it’s to try something new or gain new skills. For others, it’s a great chance to meet new people or give something back to their local community.

The importance of volunteering

Volunteers are a link between the public and our galleries. Tate gains immensely from the input and insights our volunteers offer. We value volunteering as a way to broaden participation in our galleries and to involve local communities. We encourage applicants from a diverse range of backgrounds and we aim to make reasonable adjustments so that people with access needs can participate in our volunteer programmes. Mostly we recruit volunteers locally, through our community contacts.