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The Tate’s fifth gallery referred to in the case is the Art Gallery’s Website.

The website was launched in 1998 with a primary purpose of acting as a directory for galleries
with major focus on upcoming events and basic information for the visitors. With changing
web dynamics in the upcoming years, by the beginning of the new century the website was

Changing market conditions preempted a switch from Web 1.0 to version Web 2.0. This made
sure that the Fifth Gallery is now a two-way communication platform where visitors were not
just receiving information but also creating new interactions. This included active contribution
through blogs, threads, social media and other forums. Tate’s initial target audience were
white, old, and highly educated upper middle class people. In order to make the visitor
demographics more diverse, Tate zeroed down on using the Fifth Gallery as a platform to
revamp the entire digital platform and incorporated various channels and platforms.

1. Blogs, Podcasts, and Digital Events: In addition to the content being produced by the
Digital Team, John Stack encouraged the conservation staff, curators and activists to blog
about their mainstream activities in order to increase awareness. These posts were mostly
connected to the Exhibitions and Events pages in order to drive action by enticing the
2. Mobile Applications: To increase loyalty among younger age groups of 25-35 Tate
replaced the traditional audio tours with handheld interactive multimedia guides. In
addition to this they built 12 customized apps for various needs of the visitor. Some of
them are – Exhibition-themed Apps to accompany during the launch of new exhibitions,
Modern Art Dictionary Apps, Photography Apps, Gaming Apps, Magic Tate Apps – to
provide visitors with most relevant artwork based on current moment, Tate Etc – The Art
3. Specialized Online Communities: With an objective of Influence Consideration and
Drive Action among the age group of 8-25 years, Tate created online communities to
promote participation in discussions related to art. Examples are –
a. Tate Kids – Online Community to engage children through games on art
b. Tate Collectives – For young people interested in careers in creative industry
c. Unilever Series – Developed art networks for teachers and students
d. Great British Art debate & This Exhibit forest
4. Gamification: Engaging children in the age group of 8-12 years and their parents through
gamification in order to increase awareness and drive action. Two platforms that were
used for this are
a. Wondermind – A website with 4 games, interactive videos educating videos about
neuroscience and brain development
b. Tate Kids – Online community engaging children through gamification
5. Blending Digital and Physical: Recreating the whole museum experience through live
shows and simulations. Targeting the Gallery Visitors, this was again an initiative to Drive
a. Art in Action – A festival presenting 40 live performances emphasizing audience
b. Bloomberg Terminals – 75 interactive screens installed to project visitors’
comments, tweets, photos etc.,
6. Social Media: Tate’s ventured into various social media platforms like Twitter, YouTube,
Pinterest, Facebook, Instagram and Flickr. These platforms were their ticket to not just
advertise about the good work they were doing but also to interact with their audience
transparently in order to increase awareness and loyalty.

John needs to transform the current organizational structure to support the new digital strategy
which would act as a dimension for everything which Tate does. All the digital departments
would need to be collaborated by bringing the e-commerce, technical and the content teams
closer to one another. A new product team should be set up by the organization which should
establish an agile and transparent content development process. The resources of the company
should be developed to support research and development and collaboration with the external
partners should also be promoted. A uniform culture needs to be created where decisions
should be made collectively.
The digital production capacity for Tate is also limited and there is strong need to align the
digital activity with strategic ambitions of Tate, therefore, a new governance structure needs
to be in place at Tate. All the digital activity which takes place at Tate should be driven by
content quality, and strategic objectives. The digital activity should be made both top down
and bottom up as this will identify that the digital expertise exists at all levels of the
organizational structure and within its each department. Overall, the complete organizational
structure and governance objectives should be outlined in a digital road map which should be
shared widely across the entire organization so that the new structure is widely agreed.

The digital marketing strategy for Tate can be formulated around the following verticals:
1. Search Engine Marketing and Website Optimization
2. Social Media Marketing
3. Display
4. Video
5. Apps

Different themes like War, Street Art, inspiring stories, Preserving Maya Heritage, La Galleria
Nazionale, Hamburg: a city of culture, Art of Chinese crafts, Bruegel: Unseen Masterpieces
will be the center of attraction fortnightly based on which activities pertaining to different
pillars of digital marketing strategy will be organised.

Search Engine Marketing and Website Optimization:

Given that several of the key performance indicators that Stack and his team listed for the
digital transformation are related to visitors of the website – number of visits, new visits, pages
per visit, and time on site – it seems the biggest gap in the current digital campaign for the Tate
is related to search engine optimization (SEO) and pay per click (PPC).

Social Media Marketing: While the Tate has multiple different accounts on Facebook and
Twitter (along with accounts on YouTube, Pinterest, and Instagram) the museum isn’t using
social media effectively – in addition to not using the advertising offered. Twitter and
Facebook should be two-way communication and should be interactive between the museum
and its audience or followers. “Companies who use social media just to disseminate
information to customers may not see high returns…” (Chaturvedi, n.d.). The Tate’s posts on
both Facebook and Twitter are mainly just minimal advertisements for things on the website
or in the museum. As Nina Simon mentions in her blog An Open Letter to Museums on Twitter
“tell me something I can’t find on your homepage. Tate to come up with a different platform
for art enthusiasts to meet and discuss. It will be built on the same lines as Facebook, LinkedIn
and Boutline. Under the fortnightly theme contests will be organised in which budding artists
will upload their paintings on social media. Based on number of views and user rating, the top
entries will get chance to meet the renowned artists on the panel of Tate. The winner will also
get a chance to refine his/her skills by taking sponsored courses in reputed Art College.
Documentaries to be created as per the fortnight theme. Short duration link of the documentary
to be shared on social media driving users to navigate to the proprietary platform or website
for viewing full content.

Apps: Web seminars will be conducted on fortnightly theme on the App platform provided by
Tate. Eminent speakers from across the world can take part without actually travelling to the
UK. The users can experience the art in 360-degree VR format.

Display: The case talks about downloadable projects for teachers and students. However, no
care has been taken to ensure good user experience. As a part of display, separate links for
Teachers and Students to be created on Tate’s website so that user exactly knows where he/she
has to go.

Forum: It is mentioned in the case that by 2013, the forum gained immense popularity with
talks regarding events, current exhibitions etc. However, there is no rating mechanism for the
opinion of members. Tate should give points to the user based on the likes and no of reviews
the user writes like 5 point for each review and 2 point for each like. Based on the points the
user will be assigned different levels (novice->intermediate->proficient->accomplished-
>master). The master will receive a chance to write article on the official blog and win free
goodies. This will incentivize both the active and passive members to increase their
engagement. The budget allocation should be like 35% for SMM and Apps each and 15% for
Display and SEM each since most of the crucial activities under the creative digital strategy
are executed on social media platforms and proprietary applications.