We asked T. Pang, an Asian-based art curator with over 10 years of international experience, for her thoughts.

What is the “pull factor” for art exhibitions?

“People visit art galleries or museums for a variety of reasons, all of which are intangible.

From surveys on visitor experiences, it seems they either want to learn about something new; increase their existing knowledge of something; enjoy the aesthetics of the show, and in some cases, even for spiritual reasons.

This poses some unique challenges in marketing an exhibition, particularly when a new show requires a great deal of insider or prior knowledge, or when it is not obviously appealing.

Take for example an exhibition that features more text or archival material but of little immediate visual appeal. The perception can be of a very serious or scholarly exhibition.”

Q: How do you determine your target market and stakeholders?

“Deciding on how to position an exhibition depends on the subject itself and where in Asia the show will be held.

As curators, if the exhibition is on a subject we do not have specialist knowledge in, we have to work doubly hard to become temporary experts in the field as part of our mandate to educate.

It is also important to consider whether the exhibition can work for the local population. Shows that may work in Tokyo or Shanghai may not work in Hong Kong, for example, simply because the level of cultural education, and cultures of museum-going are very different.

Cultural education is critical in ensuring an audience, whether in the visual or performing arts.

In addition, there are the needs and views of partners such as research institutions, cultural organizations, guest curators, lending galleries and, in some cases, private collectors, to consider. They normally have a certain angle that they wish the exhibition to be marketed on.”

Q: What is your media of choice?

“Other than getting notices in events listings or print advertisements in appropriate magazines or journals, displaying flyers in other galleries or other art events can be effective. With the backing of corporate sponsors, there are opportunities to place print advertisements in the form of flyers, posters, banners or art in sponsors’ premises.

Sponsorship can also allow more creative and widespread advertising. This can range from exhibiting in public spaces such as Lee Gardens or Pacific Place 3 in Hong Kong to above-the-line campaigns involving television or billboards.

Interviews with the artist or curator are also effective in generating interest around an event.

I still think that word-of-mouth remains important. So are blogs that link to websites with information about the exhibitions or events. This, I think can be considered a recent innovation.

Some blogs are quite professional in layout and output, but they are influential because they place art happenings within a wider context of other consumables such as recommended music, restaurants, shops, and books for an online community of like-minded people.”

Q: How do you measure success?

“While visitor numbers may seem to be the obvious choice, measuring the success of an art show remains an inexact science.

For large national museums, success may be measured in the level of interest in borrowing the show from overseas museums. Loan exhibitions have become an important source of revenue for many museums.

Visitor numbers may be deceptive if the exhibition period, season, and type of visitors are not taken into account. Some visitors will come for a specific show, while others (normally tourists) would come regardless of what was on view.

Measurements of success should also take into account feedback by word-of-mouth, the amount of press coverage, and direct enquiries about the exhibition or catalogue.”