# data[].attributes.body
This is an honest (and slightly tongue in cheek account!) of the problems with many contemporary art press releases, written by Gabrielle de la Puente from the White Pube

# data[].attributes.attachment_link.readable_text
final text as critic-in-residence at Middlesbrough Institute of Modern Art

i used to want to get art. i knew nothing about it but I liked it or thought I could, like dating a new person maybe n seeing u could be a match. I read and read and watched bbc art documentaries until i had the courage to actually enter a gallery space, where i would be a well behaved visitor reading the wall texts and press release handouts that offered info on the art + artist + particular exhibition i was sweating my way around. All i wanted was clarity between Art and Meaning, but press releases were nearly always written so badly, { boring and wordy they wouldn't make me feel any better } that instead of a tool to make art more accessible, they held me at arms length and spoke rushed and intricate so that i could not make out what they were sayin. That or they were describing an experience of the art that very rarely matched my own. so when I was there in a show i still felt this < > between my body and the painting I was looking at; dry space n shame, because reading was not closing the gap as I'd wanted it to and I felt like I was doing it all wrong. the culture I enjoyed - stuff I watched on telly, youtube, popppmusic, o and if i was ever in a theatre it was for a panto - I didn't have to overcome anything like studying to enjoy. it was fluid and okay and why? i just kept my eyes low and tried harder, went to university to do Fine Art thinking i would conquer it all and relax into my prowess as a Smart Arse Clever Person who could tell u eVErYthIng you needed to know about lit er ally any sculpture u pointed to.

I went to uni with the goal to attain a full understanding of art, but part way through the course I realised it was a false dream or promise, naive, stubborn; and what I was learning instead was how to make my own art, not so much how to view it. the whole course was a workshop in making ur own easter bonnet or christmas wreath. i think truly I was panicking at that point, avoiding going to galleries cause I knew shit, and knowin that if i wanted to go forward living with art then something was gonna have to give. the goal i'd gripped as a student to understand art caved in or the mirage straight up evaporated; and it evolved into wanting to know myself as best i could instead. i am all i really have for the rest of my life. N i guess an exercise to get that self-awareness can take the form of plonking myself in front of art and media and youtube videos and new people and places in order to learn my tastes. like a baby trying a lemon for the first time, n making that face, u kno. i can always talk about how I feel and for me that is enough. so I like to speak in embodied criticism instead of going into an exhibition and figuring out wtf the art is about; all you need is the ability to feel things 2 be able to talk the talk. body as the territory of knowledge (of the knowledge that matters most).

New look n new order: in order to gain a worthwhile body-experience of an exhibition the press release cannot come into play. The press release is too heavy with the complicity, bias and external subjectivities of the copy-writer on the other end: often the curator, comms team, education team, or even the artists themselves. Sometimes those press releases tell you the experience you SHOULD be having in the gallery space, didactic with their meaning, and if what they're saying is distant to ur body thoughts, what do you do? Have you failed as a gallery visitor? No. it's wild when artists think they can dictate a visitor's reaction because who knows if that baby is actually gonna like the lemon after all. artists aren't entitled to the visitor's understanding of their work, however much they want to flail and throw as many words at the exhibition as they can to get their orchestrated experience. i even know that from writing on The White Pube and in my given public that: the world is chaos, no one is the centre of the universe, and u can't pretend to control a thing. what i'm writing is not always or really ever gonna be read in the voice i'm intending and even banking on. subjectivity flies both ways, it crashes into a glass door and cartoon spirals onto the ground.

The reason I can give or take the press release for exhibitions is cause frankly, I can give or take the artist too. I've found myself in this room, just me and the art, and I want it to change or match the state I'm in;;;;; i want it to affect me. now, i don't want understanding of art, I want affect (affect affect it's the perfect word for something outside n tinkling with the body. it's the 'fanny flutter' dani admitted to having when she saw Alexandra had dressed up for the hideaway; it's the really taught feeling through my shoulders n stomach watching the Handmaid's Tale; it's what a bath bomb does to water and nesquik to milk). I know this is selfish and i'm starting to think I'll implode from the rumination, but i carry on because i think between therapy and excessive art consumption, i'm going to know myself so well so young (the whole practice is a gap yah instagram caption, I know). how good 2 be able to figure out the circumstances I need to set up around myself to stay happy and warm and in love. so far i think i need to be rich to buy a really big house so i can install The Visitors by Ragnar Kjartansson downstairs).

I know art plus meaning can be a neat package others specifically go to galleries for, but i just think artists and texts like that can get in the way of the work's own energy, n it's like explaining the joke and having it fall flat. Other times, i go into an exhibition and can see it is closer to a museum-show than an art-one and i'll accept the need for wall texts and press releases and will carry them along with me while I use the art to learn. That's fairly straightforward. a good example of working and presenting in this mode would be Forensic Architecture, or art things that have been brought together for their historical relationship e.g. The Place Is Here (which toured to Middlesbrough Institute of Modern Art, South London Gallery n Nottingham Contemporary). and still, it's the art-shows i'm in this for: a floaty vibrating aesthetic experience where the gallery walls are probably painted in a gradient or we got some mood lighting; a piano playing itself in one corner, air fresheners, wielding; there's a big painting of a hamster in thick oils; and a projection of interpretative dance. The art is taking off because the curation has made energy n atmosphere. stage is set n birds are singing. ANY time I visit an exhibition (museum or arty) I am gaining experience points, but it's the art shows that give me the health points i live off day to day. n call me a 24 year old but right this second in my life i think its perfectly ok to prioritise myself in this. as i have said on twitter and in real life time and again, as a critic i am not an expert in art but an expert in my own opinion. it's allowed me to enjoy art and that's all i actually ever wanted from this.

# data[].attributes.attachment_link.title
The White Pube | why I don't read the press release

# data[].attributes.attachment_link.description
i have written this for many reasons but also it's in the hope that annoying galleries stop sending us google drive links with install shots asking us to review an exhibition. like how do u imagine that is going to go down wihout me ever having visited. are u okay

# data[].attributes.body
One reflection on social media usage in museums

# data[].attributes.attachment_link.readable_text
Museums have increasingly utilized social media as an important method to communicate with current and prospective audiences. Social media platforms, including Facebook, Twitter, Instagram, and Tumblr, provide diverse opportunities for museums, libraries, and other cultural institutions to share their unique offerings to people around the world. Social media's ability to make cultural institutions more accessible has transformed the way in which these institutions operate. Social media now allows the general public to see behind closed doors. With this new type of access, museum departments like collection management, research, education, and conservation are better able to directly reach people. Museum departments that are often perceived as elusive can now be revealed, enabling the museum to demonstrate its core values.

Social media challenges the "traditional flow of information throughout our institutions and out into the world,"[1]whileat the same time giving identities to multiple museum departments within these institutions. Social media has blurred the lines between traditional roles of exhibition developers, designers, educators, and conservators, merging with roles previously assumed by marketing and public relations departments. Before the emergence of social media, marketing and public relations staff members were responsible for representing the image of an institution, yet social media now enables the public to view a museum's diverse identities. Instead of seeing the pristine image of a newly renovated work of art ready for redisplay, social media participants can witness the process from the viewpoint of a conservator. Followers can watch a video of exhibition designers mapping out the early stages of a new exhibition or an interview with educators and curators on particular subjects. Many experts believe that sharing internal museum processes with the public is the driving force behind online public engagement. According to the former chief digital officer Sree Sreenivasan at the Metropolitan Museum of Art (New York), or the Met, people do not always want to see the perfect end result: "They want to get a sense of how things are made. You want to build an audience before you have the big launch, rather than just sit on something and have it appear. Rather than hoping for an audience, you can build an audience."[2]

Along with advertising exhibitions and events, museums have realized that they can use social media for much more, like understanding their audiences, for example.[3] With new ways to connect with people across multiple technology-based platforms, institutions using social media are faced with questions about how to use that technology effectively. Elizabeth Stewart asks: "Will your museum employ social media to complement your museum's educational programs? To build visitor numbers in the museum? To break out of the four walls with projects? To crowdfund or crowdsource exhibits or other projects?"[4] By engaging with social media, museums can transcend "into a world of interactive education and user generated content,"[5] which is a useful tool by which museums can generate feedback on exhibitions, programming, and events. Permitting social media users to interact with a museum's post gives voice to the public. Visitors can ask questions and provide feedback about the museum, and the museum can respond in real time.[6] Social media followers can actively participate in an open dialog with a museum, a goal that was hard to accomplish prior to the advent of social media.

Often museums turn to platforms such as Twitter, Facebook, Instagram, and Tumblr because they are effective at conveying concise messages and can be accompanied by images that can quickly attract a viewer's attention. Blogging, Wikis, and other long-form platforms can be equally appealing, though for different reasons. Long-form social media can market the museum in ways that other social media platforms cannot, including those with news feeds that require shorter entries. "A well-written, engaging blog has the potential to build relationships by bringing readers back to your site repeatedly, to enhance your museum's educational program, to pique interest in current and future projects, and generally to meet museums' mission to stimulate new thought."[7] Blogs are effective for an audience that is familiar with the institution, or have academic or personal interests in the subject matter discussed. However, museums may find that blogs are not the best method to attract people to visit the collection, a special exhibition, an educational program, or an event. When it comes to meeting these needs, museums will use short-form media platforms to get a message across quickly and effectively. Simply put, long-form media requires more time and effort on the part of the visitor.

Time constraints and competition for attention have forced museums to communicate in a concise manner with the public. Institutions now take advantage of opportunities to grab attention and to be effective in the ways they communicate. That is why institutions are now turning to platforms that rely heavily on visuals, as a short video or an interesting image can communicate as effectively as a blog entry. Facebook, for example, brings the best of both short-form and long-form communication into a concise platform with which the public can engage. Facebook can be an advantageous tool for cultural institutions that wish to get to know their audience better.[8]Museums can easily post status updates to Facebook that appear on followers' news feeds, can create photo albums to show their collections and to tag visitors who have attended events, and museums can share videos or write blog entries that the public can comment on or share with others. While it is an unscientific approach, the institution can informally gauge their Facebook followers' interests. Analyzing individuals' public comments, or the number of times a Facebook post has been 'shared' or 'liked' demonstrates a museum's success at engaging followers via this platform. Further, the Facebook page provides demographic breakdowns of individuals who engage online, such as gender and age. This is valuable information for the institution to have because it can tell them who is likely coming to the museum, and more importantly, who is not.[9]

One museum's successful social media strategy to reach and engage their intended audience may not be successful for another, as each institution will have its own priorities and challenges. The platforms chosen and the ways in which these platforms are used varies greatly depending on an institution's desired goals. Even if an institution begins with an extensive and ambitious social media strategy, through trial and error the museum may alter course. The Brooklyn Museum (New York), located in one of the cultural capitals of the world, faces heavy competition for visitor outreach. As a result, the museum attempted to implement a social media strategy that would expand their audience globally. After struggling to meet their goals, the Brooklyn Museum's social media team reevaluated their social media strategy.[10] The team began to focus their efforts on local outreach and to build upon the diverse aspects of their museum. Their decision to close many of their digital platforms, such as Flickr, was seen as controversial in the museum world and prompted discussion about the value and impact of social media on other museums. Now the Brooklyn Museum uses the internet to highlight local Brooklyn artists, taking visitors on a virtual tour through the artists' studios, which has proven to be a very successful program in terms of visitor attendance and satisfaction.

Some large and renowned cultural institutions are using social media to expand upon their image as prestigious organizations. The Met, for example, has social media accounts with large numbers of followers. While the Met receives approximately 6 million physical visits a year, the museum's website receives approximately 29 million visits, and its Facebook page reaches over 92 million people.[11]The Met's Facebook page frequently highlights parts of its collection linking visitors to the "Heilbrunn Timeline of Art History" on the museum's website. This feature is an unprecedented educational tool that leads visitors through a chronological tour of the museum's collections with accompanying essays and it accounts for roughly one-third of the museum's web traffic.[12] The Met has also developed a visually enticing and linguistically accessible digital gallery, "One Met. Many Worlds," that allows worldwide visitors to interact online with works from the museum's collection. The Met is finding ways to reach new audiences that are unable to visit the museum in person and give these individuals the opportunity to enjoy the collections the museum offers. However, making the collections accessible to so many people is complicated and does not come without sacrifices. "The values of virality in this Buzzfeedian age and the values of traditional museum curating are, to put it tenderly, different values."[13] The Met's digital team faces the challenge of balancing the values of education with accessibility, often questioning how to present material in an approachable way without "watering down the scholarship."[14] This is not a new struggle in the museum industry, which for decades has sought to break down the idea of cultural institutions being reserved for the elite. The new dimension of social media increases a museum's responsibility to be inclusive and relatable.

Discussion regarding social media usage in cultural institutions often focuses on museums with large and significant permanent collections. However, smaller institutions, including local heritage sites, can arguably gain more than larger organizations by having a significant online presence. Because smaller museums are often only known on a local scale, the museums can benefit from having an active Facebook or Twitter account to regularly post about exhibitions, events, and educational programs in order to attract wider audiences. Many times even local residents are unaware of their town's heritage sites and smaller museums. Social media can aid in strengthening community identity and awareness in these situations. Bexley Heritage Trust, developed in 2000 to promote the London borough's cultural heritage, manages two historic houses with two separate Facebook pages to represent the different identities of each house. According to Sarah Humphris, a Public Relations and Media manager at Bexley Heritage Trust, the social media posts range from "observations about the weather to celebrity spotting, historic facts, linking with other organisations, local wildlife and Friday fun in the office!"[15] For this local organization that manages Hall Place and Danson House, a Tudor house and Georgian mansion respectively, social media is valuable for connecting to the local community about things beyond the museum collections. Focusing on community and pride in local history gives the Bexley Heritage Trust a loyal following. Humphris adds that the Trust does not focus on social media statistics that Facebook provides because their social media posts do not particularly align with the Trust's mission, saying that she "can appreciate the value of this for larger organisations, but in our case, concentrating on regularly sharing our news with great imagery, replying to people as soon as we can and increasing the size of the online audience works for us."[16] While larger institutions rely on statistics to drive their social media strategies, smaller organizations might not have the time or resources to concentrate solely on numbers. Instead, smaller museums can build rapport with their local communities and amplify their audiences by marketing events, education programs, and more to other localities.

Museums are encouraged to take advantage of social media because of its ability to reach a multitude of people in an instant, and the general goal for the majority of museums is to get people through their doors. The desired number of visitors varies by institution, but it is valuable for a museum to have consistent visitors who enable the organization to remain in existence. No matter the type of museum, each seeks to keep up with technology. This can be a tremendous cost for institutions, both figuratively and literally, even for those that are financially well endowed. For some museums, the cost of competing against other institutions that use the latest social media platforms and create highly interactive elements is too high. Sometimes maintaining a Facebook or Twitter account to keep in touch with visitors is enough, or having a Tumblr or Flickr page where visitors can upload their own content is more important than having an interactive online catalog sharing works from the collection. Regardless of how an institution utilizes social media, it is becoming increasingly apparent how important any social media presence is to museums, heritage sites, and other cultural institutions. Social media has undeniably changed the way in which such institutions function, and has changed how each interacts with its audiences. While there have been concerns that the digital element diminishes the necessity of having physical institutions, evidence suggests otherwise. Social media continually breaks down barriers between institutions and visitors. Additionally, social media strengthens the public voice, enabling people to be a part of the institution's history. Utilizing social media to engage in conversation with the public helps museums to shift from groups they have traditionally attracted to develop new audiences. Thus, it is mutually beneficial to the institution and their audience to keep the conversation going.[17]
Notes
[1] Jeff Gates, "Clearing the Path for Sisyphus: How Social Media is Changing Our Jobs and Our Working Relationships," in Conversations with Visitors: Social Media in Museums ed. MuseumsEtc Ltd. (Hudson House, Edinburgh, 2012), 94.

[2] Anand Giridharadas, "Museums See Different Virtues in Different Worlds," New York Times, August 7, 2014.

[3] Zoe Fox, "5 Ways Museums Are Reaching Digital Audiences," Mashable, August 11, 2011.

[4] Elizabeth Stewart, "Developing A Social Media Strategy," in Conversations with Visitors: Social Media in Museums ed. MuseumsEtc Ltd. (Hudson House, Edinburgh, 2012), 15.

[5] Fox, "5 Ways Museums."

[6] Carol Vogel, "The Spirit of Sharing," New York Times, March 16, 2011.

[7] Stewart, "Developing A Social Media Strategy," 17.

[8] Chern L. Liew, "Participatory Cultural Heritage: A Tale of Two Institutions' Use of Social Media," D-Lib Magazine 20: 3/4 (2014).

[9] Stewart, "Developing A Social Media Strategy," 19.

[10] Giridharadas, "Museums See Different Virtues."

[11] Ibid.

[12] Ibid.

[13] Ibid.

[14] Ibid.

[15] Sarah Humphries, "Facebook: how it works for us, from the perspective of a small heritage organisation," last modified December 3, 2013.

[16] Ibid.

[17] Jeff Gates, "Clearing the Path for Sisyphus," 95.
References
Fox, Zoe. "5 Ways Museums Are Reaching Digital Audiences." Mashable, August 11, 2011.

Accessed March 1, 2016. www.mashable.com.

Gates, Jeff. "Clearing the Path for Sisyphus: How Social Media is Changing Our Jobs and Our Working Relationships." In Conversations with Visitors: Social Media in Museums. Ed MuseumsEtc Ltd, 92-107. Edinburgh: Hudson House, 2012.

Giridiharadas, Anand. "Museums See Different Virtues in Different Worlds." New York Times, August 7, 2014. Accessed March 1, 2016. www.nytimes.com.

Humphris, Sarah. "Facebook: how it works for us, from the perspective of a small heritage organization." December 12, 2013. Accessed March 1, 2016. http://www.londonmuseumsgroup.org/2013/12/02/facebook-works-us-perspective-small-heritage-organisation/.

Liew, Chern L. "Participatory Cultural Heritage: A Tale of Two Institutions' Use of Social Media." D-Lib Magazine, vol. 20, no. 3 / 4, 2014. Accessed March 1, 2016.

Stewart, Elizabeth. "Developing A Social Media Strategy." In Conversations with Visitors: Social Media in Museums. Ed MuseumsEtc Ltd, pp. 12-33. Edinburgh: Hudson House, 2012.

Vogel, Carol. "The Spirit of Sharing." New York Times, March 16, 2011. Accessed March 1, 2016. www.nytimes.com.

# data[].attributes.attachment_link.title
Keep the Conversation Going: How Museums Use Social Media to Engage the Public

# data[].attributes.attachment_link.description
Museums have increasingly utilized social media as an important method to communicate with current and prospective audiences. Social media platforms, including Facebook, Twitter, Instagram, and Tumblr, provide diverse opportunities for museums, libraries, and other cultural institutions to share their unique offerings to people around the world.

# data[].attributes.body
A short introduction to marketing at the V & A

# data[].attributes.attachment_link.readable_text
Marketing a museum is the process of identifying the needs and wants of the visitor and delivering benefits that will satisfy or enhance their experience. Marketing also helps maximize the performance of the museum. It is a complex activity requiring extensive creativity, planning, organisation and problem solving. The following is a short introduction to the way marketing is carried out at the V&A.

At V&A South Kensington, the process is mostly handled by the Marketing Department and Press Office working in tandem, led by the Director of Public Affairs. They act as a public voice for the V&A, communicating with many different audiences, including tourists, colleges, schools, families, adults (individuals and groups), diverse communities, the creative industries, members, journalists and press, sponsors, opinion formers and MPs. Together, they promote, or advise on the promotion of, the V&A's permanent collections and galleries, major exhibitions, contemporary programme and a wide range of displays, events, activities and courses. A separate department based at the V&A Museum of Childhood handles marketing for their site. The V&A's trading arm, V&A Enterprises, manages the marketing of V&A publications and products.

Marketing objectives

The V&A has several key marketing objectives:

The Museum also has commercial objectives to increase revenue through a variety of different sources, including the museum shops, publications, events and catering.

Marketing campaigns

The Marketing Department develops a series of general strategies and specific marketing campaigns to fulfil these objectives. Each campaign supports a different product or is targeted at different audiences. Recent campaigns have included:

Each campaign has a separate marketing strategy (which is developed in conjunction with the press strategy where appropriate).

Marketing strategies

The campaign strategies follow the same process. Each strategy will:

The marketing mix

Also known as the 'Four Ps', this term describes the four key elements that the V&A uses to implement its marketing strategy: Product, Place, Price and Promotion. The Marketing Department advises or makes direct decisions about each variable.

Product

The V&A has many different products on offer which the Press and Marketing Departments work with other V&A departments to develop. These products include the permanent collection, temporary exhibitions, special events such as Black History Month and family activities, and educational resources for schools, colleges and universities. In addition to this, there are products that help the V&A generate more income, such as the membership schemes, gift shops, cafes and corporate hire facilities.

Place

The V&A is situated in South Kensington, to the west of central London. There are two key factors that the Museum promotes with regards to its location:

Excellent transport links by bus and tube to London and Heathrow Airport

Stunning Victorian architecture close to other world-class museums

Price

Entrance to the V&A is free. However, there is a charge for exhibitions which needs to remain competitive, represent good value and allow access to people on low incomes. Goods and services, such as the shops and café, adopt their own pricing strategy based on the above principles, but also need to produce a net profit that is re-invested in the V&A's income stream.

Promotion

This aspect of the marketing mix represents the possible tools used to communicate with and attract the target audiences. The Marketing Department makes decisions about which channels would be most appropriate and effective in attracting the target audience within the budget available (the specific campaign strategy). These can include:

Market research

Ongoing market research informs all the Marketing Department's activities, as well as those of other visitor-facing departments. The V&A works with MORI (Market Opinion and Research International), one of the country's leading market research agencies, to carry out regular market research amongst its visitors. Questions are asked to find out who the V&A's visitors are and discover how they behave. These include what has motivated them to visit (e.g. advertising, press articles, web site), how aware they are of various V&A services (e.g. membership, talks and tours), what newspapers they read and what other venues they go to, how much they enjoyed their visit and whether they would recommend the Museum to others. This data enables the Marketing Department to deliver highly targeted, strategic campaigns which will attract visitors in the most cost effective way.

The V&A brand

Branding is a very important part of the marketing process, and one that the V&A is currently making a major priority.

Brand is a shorthand term for the process of examining;

What the V&A means to different people, with a view to establishing and communicating clear goals, both internally and externally.

The V&A has recently refreshed its visual and verbal identity (tone of voice) to create a clear brand identity which evokes a feeling about what the museum stands for and the way it behaves (the values it promotes). Everything that the visitor experiences is also a manifestation of the brand - from the exhibitions they attend, to the members of staff that they speak to, to the sandwiches they eat. Brand development and management is an ongoing process, but one of the most important of all.

To see examples of how V&A has marketed exhibitions over the years, and also discover how the brand was refreshed in autumn 2002, make an appointment with the V&A Archive to see past posters and leaflets - call them on +44 (0)20 7602 8832.

# data[].attributes.attachment_link.description
Marketing a museum is the process of identifying the needs and wants of the visitor and delivering benefits that will satisfy or enhance their experience. Marketing also helps maximize the performance of the museum. It is a complex activity requiring extensive creativity, planning, organisation and problem solving.

# data[].attributes.body
For those interested in a more in-depth exploration of museum design ... (access via Shibboleth using your university ID)

# data[].attributes.attachment_link.readable_text
What is the current status of museum design research? How has the field progressed and how might we characterise contemporary museum design research? What are the barriers to the ongoing development of museum design and what role might research play in enabling museums to harness their physical, designed forms towards the production of meaningful, active, ethical and ongoing visitor experiences as well as the tangible manifestation of mission? This paper explores one very specific piece of research undertaken with colleagues from the Imperial War Museum North in the early months of 2014. The project proved highly productive, prompting a whole range of questions and generating new insights about the future of museum design research and its ability to make a positive and meaningful contribution to the ongoing transformation of museums into visitor-centred organisations. Most significantly, the project showed the value of design thinking and a research-led approach to museum development; harnessing the possibilities of museum design for a more fundamental thinking through of the visitor-centred visions, values, missions and making of museums.

# data[].attributes.attachment_link.title
New museum design cultures: harnessing the potential of design and 'design thinking' in museums

# data[].attributes.attachment_link.description
What is the current status of museum design research? How has the field progressed and how might we characterise contemporary museum design research? What are the barriers to the ongoing development of museum design and what role might research play in enabling museums to harness their physical, designed forms towards the production of meaningful, active, ethical and ongoing visitor experiences as well as the tangible manifestation of mission?

# data[].attributes.headline
Leeds Museums and Galleries: A Practical Guide for interpretation

# data[].attributes.subject
Leeds Museums and Galleries: A Practical Guide for interpretation

# data[].attributes.body
Many museums have strict guidelines to ensure that they communicate in a consistent and accessible way. You do not need to use this guide as a 'rule book' but it will help introduce you to a range of important issues when designing your interpretation materials.

# data[].attributes.body
There are a range of free marketing-related resources on the Arts Marketing Association website

# data[].attributes.attachment_link.readable_text
Header image courtesy of The Albany © Doug Southall Ampersand Storylines 2015
Image 1 - Image courtesy of Tasmanian Symphony Orchestra © Richard Jupe
Image 2 - Image courtesy of Stagetext. © Heather Judge. CaptionCue test event at the National Theatre, 2015.
Image 3 - AMA conference 2016 © AMA
Image 4 - JAM front cover © AMA
Image 5 - Image courtesy of The Orchestra of the Age of Enlightenment © Joe Plommer

# data[].attributes.attachment_link.description
Header image courtesy of The Albany © Doug Southall Ampersand Storylines 2015 Image 1 - Image courtesy of Tasmanian Symphony Orchestra © Richard Jupe Image 2 - Image courtesy of Stagetext. © Heather Judge. CaptionCue test event at the National Theatre, 2015.

# data[].attributes.body
This is a free design tool which is great for making posters, leaflets etc on a low budget.

# data[].attributes.attachment_link.description
Canva is a free-to-use online graphic design tool. Use it to create social media posts, presentations, posters, videos, logos and more.