Bed (500 Years Of Stories) 2 by Grey London for Tate Britain

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Bed (500 Years Of Stories) 2

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Industry Museums & Libraries
Media Outdoor, Billboard, Poster, Transportation & Vehicles, Design & Branding
Market United Kingdom
Agency Grey London
Executive Creative Director Dominic Goldman
Creative Peter Gatley
Released March 2016

Awards

Cannes Lions 2016
Design Use of Design Craft: Copywriting Gold Lion Campaign

Credits & Description

Agency: Grey London
Brand: Tate
Country: United Kingdom
Advertising Agency: Grey London
Entrant Company: Grey London
Media Agency: Grey London
Pr Agency: Grey London
Production Company: Grey London
Additional Company: Aka, London
Design Agency: Aka, London
Business Director: Henry Debenham (Grey London)
Creative: Peter Gatley (Grey London)
Chairman & Cco: Nils Leonard (Grey London)
Artist: Tracey Emin (N/a)
Senior Creative Producer: Rose Percy (Grey London)
Executive Creative Director: Dominic Goldman (Grey London)
Planning Director: Ruth Chadwick (Grey London)
Account Director: Sophie Posgate (Grey London)
Campaign Description:
Galleries have often used reproductions of artwork in their posters to try and attract visitors. They don’t show the art in its best light, and they’ve become wallpaper to all but a few art buffs. So instead of showing the art, we decided to use words to tell the stories behind it. Stories that are as relevant today as they were when the artworks were originally created. Stories so compelling it would make people want to go to the gallery to see the art for themselves. This campaign is proof that challenging convention can lead to a better more powerful way to communicate. In a world saturated with Instagram images, film, video and image reproductions this campaign has no image. In a world of ‘he who shouts the loudest wins’ this campaign is stripped back to just words and the stories they create.
Outcome:
Despite a limited budget of £**** (See Confidential Information) for all media, the campaign caused a noticeable increase in gallery footfall, created a stir socially and impacted the way in which the everyday person views and understands the art in Tate Britain. We achieved: 331,55
550 Offline ImpactsOutdoor: 23,38
000 | Press: 4,941,500 | Distribution: 94,000 | Radio: 368,000 | Cinema: 30
767,050 968,052 Digital ImpactsContent: 66,852 | Facebook: 577,444 | Twitter: 107,094 | Search: 3,652 | Instagram: 213,0102
080 Increase in Site TrafficContent: 977 | Facebook: 1
530 | Twitter: 253 | Search: 117 | Organic: 4,786 | Instagram website clicks:
080 Tate Britain even placed our postcards and posters in gallery. We also received an abundance of positive comments on social media, with hundreds of people sharing photographs of the work, spreading the campaign further organically. We are still awaiting some results from the activity in March & April.
Synopsis:
Tate Britain’s footfall was declining and they were struggling to get people outside of the usual ‘art crowd’ to visit the gallery. The brief was to revitalise the gallery and make it appeal to a broader audience. Overall objectives were to increase footfall and to make people care about art again. The budget was £**** (See Confidential Information) and this delivered reach of 331,601,621.
Strategy:
Art has always been an important part of British culture. But the art world has gradually drifted away from the everyday lives of most people. It is full of intellectual superiority and ‘quiet please’. This has alienated all but the white middle classes, so we needed to diversify the audience to include broader age ranges, ethnicities and social classes. We needed to put Tate Britain’s art back at the heart of British culture by making it feel relevant to people’s lives today. The campaign ran across a number of channels to allow people to engage in different ways. These channels included print, outdoor, cinema, radio, social and direct. In each case we picked high quality, high dwell time placements, to allow people the time to read the stories, but we also subverted these traditionally visual formats and deliberately not showing the art but telling the stories behind them.
Execution:
Gallery advertising is a convention.Usually featuring a picture of the art, with an overload of boring information and sponsor logos.Gallery advertising isn’t working.We didn’t want this work to resemble advertising.Emotive, provocative stories discovered in places you wouldn’t expect.All set in the Tate Gallery’s typeface, the copy was set, then photographed and re-set so as to create imbalance.All placed on an off white, sterile background leaving only the words to do the job for a visual client.Anti-design. With the smallest, emotive typographic nods to the power in the stories.