They also followed the digital marketing textbook by linking their campaign directly back to their collection they get an A+ in our book. It therefore makes complete sense that Tate would run a campaign that is specifically targeted at engaging digitally-savvy young people. This project was part of the Tate Late programme which aims to bring younger audiences into the gallery. Tate went about this by commissioning several artists to create GIFs that served as inspiration for the public and then an all-call was put out to the public asking for unique GIF submissions. The intention for this campaign was to “warm” the Tate brand according to the evaluation report for the project. What was so interesting about this campaign was Tate’s playful and crowd-sourced means of engaging with the public. James Abbott McNeill Whistler, Harmony in Grey and Green: Miss Cecily Alexander 1872–4.Joanna Mary Wells, Portrait of Sidney Wells 1859.John Singer Sargent, Carnation, Lily, Lily, Rose 1885–6.John Brett, Lady With A Dove: Madame Loeser 1864.This project involved asking the public to submit animated GIFS from 5 selected artworks housed in the 1840s gallery. Tate Britain hosted a major mass participatory digital project as a part of their Tate Late programme in February 2014. Each campaign is rooted within the institutional mission of each organisation and worked to garner interest in the respective organisation and subsequent offerings. These creative museum marketing campaigns were pushed primarily on social media, but what we want to note here is the planning, organisational connections and brand consistency that was behind each shiny, viral campaign. This article contains shining examples of cultural organisations who hit the nail on the head with engaging campaigns that proved extremely memorable to the public.
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