The Getty Museum

Integrated Marketing and Communications Plan

Debbie Fellman Richard Hooker Jimmy Pangestoe Josh Podell

Executive Summary
When is advertising not advertising?
We start with a riddle.
The Getty Center is Los Angeles world-class museum, yet faces declining attendance and
major, international scandals that threaten its nonprofit status. In number of visitors and status,
it is second to major American museums such as the Metropolitan, the Guggenheim, and the
Chicago Museum of Contemporary Art.
But museums arent about numbers and market share: theyre about social outcomes, about
making the community, the nation, and human culture better. Advertising focuses on outputs:
visitors, admissions, donations, etc., but museums live and breathe outcomes: social outcomes,
education, reputation, and so on. From a marketing and advertising perspective, the Center is
faced with the challenge of identifying, targeting, and attracting a broader and deeper visitor base
along with improving its international, national, and local reputation. Deepening the visitor base
means increasing the number of annual visitors and expanding the visitor profile in
underrepresented segments. This task nothing short of fulfilling the Centers mission means
finding innovatively rich and productive ways to interact with the Getty community to extend
what constitutes both a visitor experience and a visit.
How do you increase sales when its free?
Ad folks think in money terms: sales . . . revenues . . . profits. By focusing on outcomes more
than outputs, our primary goal is to further the mission. To do this, our Integrated Marketing
Communications Plan is slated to increase annual visitors by 18% by the end of 2007 and a
further lift of 6% by the end of 2008; but to really further the mission, our main goal also
consists of increasing visits by underrepresented population segments people who are less
affluent, less educated, and less managerial than the current visitor base. Our secondary goal is to
create and expand a virtual visitor community formed from former visitors and non-visitors of 7
million people by the end of 2007 (a 35% increase over current visitor traffic) and 9.5 million
people (another 39%) by 2008.
So how do you get people who normally dont go to museums to get interested?
A perfect storm. Our IMC plan targets both adults and children in all segments, but
particularly for underserved segments. The perfect storm happens when parents and children are
sitting at the dinner table on the one side, the parent has some interest in the Getty because of
an outdoor or in-theatre ad theyve seen on the other side, the children are excited because
theyve been to one of the interactive portions of the IMC mix. Thats the perfect storm, parent
interest and child excitement, that will drive increased participation from underserved segments.
Whos the audience?
We have identified three target market customers: a.) young, less affluent, some college
educated, non-managerial adults with children ; b.) school children; c.) educators. To get a better
sense of the Getty visitor and how best to serve them and broaden their interaction with the
Center, we will further segment by PRIZM categories using virtual environments (CRM) and
surveys.
What does outcome-based advertising look like?

We recommend clear, persuasive, and memorable benefit positioning to unify all the
elements of the Getty experience in terms of personal enrichment, family enrichment, discovery,
entertainment, and community. That new positioning will be:
For adults, children, and families who want to experience something new, wonderful,
and uplifting, The Getty offers a universe of discovery, inspiration, and wonder because
of its unmatched, inimitable combination of location, architecture, atmosphere, and
beautiful objects crafted by the most inspired and visionary artists of the ages.
How much will this set us back, eh?
The total cost of advertising and promotion for 2007 will be $16,566,000 million or 3.6% of
endowment and other revenues. We will spend:
> We will spend $5,626,000 or 34% of the total on print advertising, $1,690,000 million or
10.2% of the total on outdoor advertising (including unconventional outdoor
advertising), and $8,350,000 million or 50.4% of the total on multimedia/interactive
initiatives.
> We will spend $900,000 or 5.4% of the total on public relations.
What are we getting for these bucks?
The primary purpose of the advertising and promotion is to build greater awareness of the
Center, increase peoples awareness and desire to visit the Center, and create a larger and more
regular virtual visitor population that will help us extend the mission of the Center and
increase the centers local and national audience. To do this, the centerpiece of our IMC Plan are
bold interactive initiatives, such as Getty Films, a Getty Schools website, and, something that has
never been done before, a special Getty Kids website. All these interactive initiatives will have
CRM capabilities folded into them along with several entertaining, ongoing email
communications initiatives with specific constituencies.
Additionally, the advertising will be the foundation for building a knowledge base of the
Getty constituency to help us better fulfill the mission relative to the needs of that community.
The bulk of our advertising budget will be spent on Internet and multimedia in order to create
awareness- and community-building promotional materials that dont look like advertising and,
congruent with the mission of the Center, create value for the Gettys visitor community rather
than interrupt them as other advertising does. The secondary form of advertising
recommended is print advertisement in select magazines to attract a larger tourist visitor
population and create the foundation of the Getty virtual visitor community as well as target an
educator audience to build an educator/schoolchild constituency for our interactive endeavors.
We are recommending some bold, innovative, and interactive advertising that catches the
audience by surprise. Our print ads will have a sequential logic we want our audience to look
forward to the next installment. Were not out to sell the customer were there to create in
the ads a little bit of the resonance and wonder that characterizes the real-life experience of the
museum.
Outdoor advertising will involve some traditional advertising promoting special exhibitions
or the museum, but innovative outdoor advertising, such as billboard installations, freeway
murals, and the Getty bus, will generate publicity buzz and public interest.
Finally, in-theatre public service advertising in the Los Angeles area will target underserved
segments to get them to think of entertainment possibilities other than the garbage stew
normally offered to them. These advertisements are not intended as direct advertisements but
public service announcements that are calls to action: give your kids something else besides junk
culture.

The Situation
Industry &
Market
Size

Trends

Technology
Changes

Legal &
Regulatory
Issues

1. Industry/Market Analysis
There are 350 art museums in the United States serving 45 million visitors annually. Fifteen
of those art museums live here in the Los Angeles area and provide wonder and excitement to 4
million visitors every year. Virtual visits to art museums via the Web averages 190 million
annually, but most of these virtual visitors a vast, untapped public that art museums could
potentially serve find only quotidian information.
As regards the combination of reputation, acquisitions, exhibitions, exhibition originations,
and attendance, the top tier U.S. art museums are the National Gallery of Art in Washington,
D.C., the Metropolitan Museum of Art, New York, the Museum of Modern Art, New York
(MOMA), and the Guggenheim in New York. Second tier world-class U.S. art museums are the
Art Institute of Chicago, Museum of Fine Arts, Boston, The Getty Center, and the Museum of
Fine Arts, Houston. The third tier is made up of the Carnegie Museum of Art in Pittsburgh,
Philadelphia Art Museum, the Hirshhorn in Washington, D.C., the Fine Arts Museum of San
Francisco, the Walker Art Center in Minneapolis, Los Angeles County Museum of Art
(LACMA), the San Francisco Museum of Modern Art (SFMOMA), the Detroit Institute of Fine
Arts, the Whitney Museum of American Art in New York, the Minneapolis Institute of Arts, and
the San Diego Museum of Art.
> Increasing focus on outcomes rather than output; museum administrators and
philanthropists are increasingly focusing on the positive impacts museums have on the
communities rather than traditional output measures of success such as attendance,
membership, acquisitions, or exhibitions.
> The growth of strategic and venture donors are changing the way donors relate to
museums; funders, including the government, are increasingly demanding accountability
and proof that their contributions are having a measurable impact.1
> Management and governance of museums increasingly involves responsibilities not
related to fiduciary or curatorial responsibilities: institutional focus, strategy, performance
measurement, and maintaining institutional competitiveness.2
Expanded role of Web/interactive. While the bulk of museum Web sites are purely informational,
there is an increasing trend to use Web sites as part of the education and mission of the
institution to expose people to art and information; Getty has led this trend by designing and
mounting a deep, content-rich Web site in 2001 with art information, videos, and
conservation/leadership scholarship.
Tour automation. Wireless headphones, handhelds, RFID tags embedded in exhibit
floors/walls that trigger information display, and even self-propelled robots are changing the
way visitors interact with museum information beyond wall plates, audio tours, and docent tours.
Intellectual property. Managing and protecting museum intellectual property. Includes the
protections, no matter who owns the intellectual property, due to artists in the Visual Artists
Rights Act of 1990.
Accessibility statutes. Museums, like libraries, are governed by statutes that may require
accessible electronic information; this affects Web site design and multimedia materials.
Theft. Many pieces of art were removed improperly from countries or stolen; recent case law
has determined that artwork purchased from Germany in the 1930s and 1940s may be stolen
and should be returned to the families of the original owners.

Sarbanes-Oxley. Sarbanes-Oxley has created several new rules for financial transparency and
corporate governance of non-profits.
Tax Exempt Status. Expect further scrutiny and reductions of the tax exempt status of nonprofits museums on both the federal and state level. Case law in California now holds traveling
exhibitions to be commercial activities and all exhibition catalogs to be commercial publications.
Federally, museum stores by UBIT on products not related to the museums educational mission.
Looming changes include treating exhibitions as merchandise so admissions will be subject to
local sales taxes.3
Employment case law relative to non-profits. In particular as it applies to unpaid staff: interns and
volunteers.
Relationships with for-profit exhibitors, lenders, and borrowers.
Cultural heritage laws and regulations.

Competitors

2. Competitive Analysis
The museum sector in southern California is very crowded; in addition, by positioning the Getty
as an entertainment and tourist destination, the Getty is also competing in the theme
park/entertainment sector. The more we position the Getty as an art theme park, the more
community members and tourists will see Six Flags or Disneyland as the alternatives theyre
turning down to attend the Getty. The major competitors in the museum and art sector are:
D Los Angeles County Museum of Art: The other major museum in Los Angeles, LACMAs
collection of art far outshines the Gettys with over 150,000 works of art from ancient
Egypt to contemporary works. LACMA draws unprecedented crowds by participating in
major national art tours, such as the recent Tutankhamen exhibit, and collects 80% of its
new members during these major exhibits. In comparison to the Gettys 1.5 million visitors
per year, LACMA attracts around 700,000 visitors per year (mainly during special
exhibitions) and has 85,000 active members and a $40M average annual budget. Members
tend to be female, college-educated, more affluent, and 20 years older than the average
American; more than half are drawn from one of four PRIZM clusters: Blue Blood, Money
& Brains, Winners Circle, Young Literati. LACMA underwent a new identity/advertising
campaign three years ago to lower the average age of members/visitors and successfully
attract people from different PRIZM segments: Bohemian Mix, Urban Achievers, etc.
D The Huntington Library in San Marino has a very modest art collection, primarily
specialized in 18th century art, but annually attracts around 600,000 tourists and community
visitors primarily with its 120 acres of botanical gardens. The Huntington also runs an
extremely popular grade school program and hosts over 20,000 local students every year.
Like the Getty, the Huntington is a research institution and hosts 1800 scholars per year.
Also like the Getty, the Huntington is a captive museum far from other entertainment,
food, or shopping. Visitors stay within the grounds and spend all their dollars on food and
goods on the grounds. Like the Getty, there are no convenient shopping, eating, or
entertainment venues nearby for a complete day out. The annual operating budget is $25
million with a capital endowment of $175 million. The Huntington has a near-zero
marketing budget; marketing resources are almost totally focused on membership
maintenance.
D The Museum of Contemporary Art (MOCA) in downtown Los Angeles specializes in art
after 1940 with holdings of around 5,000 objects. MOCA supports young artists and has an
active school program. The museum has a very limited budget for new acquisitions and
funds most of its acquisitions through controlled endowments and donations, adding

approximately 30 works of art each year. Because the museum focuses on contemporary art
that most people find difficult, the museums audience tends to be highly educated, highly
art literate, and relatively affluent. General admission is $8 and the museum attracts While
not known for its acquisitions, MOCA has attracted visitors through highly innovative
special displays, such as the recent Masters of Comic Book Art, and through ingenious
advertising campaigns such as 2001s multi-tiered outdoor campaign by TBWA/Chiat/Day.
D The Norton Simon Museum in Pasadena is the west coast collection with famous
paintings well-known to anyone with any art knowledge: Rembrandts, Picassos, etc. It also
contains a world-renowned collection of South Asian art which makes elevates it, even a
small museum, to world-class status. Like MOCA, it does not attract visitors to its grounds,
but for the art approximately 130,000 visitors per year. Proximity to downtown Pasadena
gives visitors easy access to restaurants, shopping, and shows as part of a larger day out.
Unlike the other major museums, Norton Simon does not compete well with special
exhibits, often culling its special exhibits from its permanent collection. The museum is
dedicated to education and offers free admission to students.
D Other art/visual culture museums include the Skirball Center in Bel Air (400,000 total
annual visitors including film-, theatre-, or concert-goers, community, business, or education
meetings, and school programs the museum itself attracts around 65,000 visitors per year;
the Center is partly funded by the Getty Foundation); the Pacific Asia Museum in Pasadena
(120,000 annual visitors; the Center is partly funded by the Getty Foundation); the UCLA
Armand Hammer Museum of Art and Cultural Center (110,000 annual visitors per year);
Long Beach Museum of Art (100,000 annual visitors); Ventura County Museum of Art &
History (65,000 annual visitors per year); Museum of Latin American Art in Long Beach
(45,000 annual visitors per year); Laguna Art Museum in Laguna Beach (30,000 annual
visitors per year); the Santa Monica Museum of Art (30,000 annual visitors per year); the
Fisher Gallery at USC (6,000 annual visitors per year); Museum of Neon Art in Los Angeles
(6,000 annual visitors).
Market
Share
Measures

Appropriate Metrics for Market Share Comparisons4

In our campaign, we hope to affect the following success metrics, so we are using them as
the basis of determining the Gettys market share (traditional art museum success metrics are
attendance, membership, annual contributions, exhibitions, and acquisitions)
D Attendance: since the Getty Museum does not have memberships (and since
memberships below $150 per annum are revenue losers for museums), we are measuring
attendance by museum visitors and endowment impact, that is how many dollars of
endowment pays for each visitor.
D Fulfillment of educational mandate: from an advertising point of view, we can only
measure this based on the demographic spread of the visitor base. Since the Getty does not
keep these statistics (and since many other museums do not, either), we are not using them
as a basis for comparing market share.
D Reputation: measured by press mentions, positive press mentions, and Web profile.

2005

Attendance

Reputation

(in millions)
The Getty Center
LACMA
The Huntington
Skirball Center
MOCA
Norton Simon
Others
National Gallery of Art (DC)
Metropolitan (NY)
MOMA (NY)
Guggenheim (NY)
Art Institute (Chic)
Museum of Fine Arts, Boston
Museum of Fine Arts (Hou)
Carnegie Museum of Art (Pitt)
Philadelphia Art Museum
Hirshhorn (DC)
Fine Arts Museum (SF)
Walker (Mpls)
SFMOMA (SF)
Detroit Inst. Of Arts
Whitney (NY)
Minneapolis Institute of Arts
San Diego Museum of Art

1.19
0.70
0.60
0.40
0.24
0.14
0.51
7.00
5.50
2.50
2.50
1.50
1.43
1.40
0.86
0.80
0.78
0.75
0.74
0.65
0.59
0.50
0.50
0.50

2005
Lexis-Nexis
(in millions)
Guggenheim (NY)
Metropolitan (NY)
Art Institute (Chic)
National Gallery of Art (DC)
Whitney (NY)
LACMA
Walker (Mpls)
SFMOMA (SF)
The Getty Center/Museum
Hirshhorn (DC)
Museum of Fine Arts (Hou)
Minneapolis Institute of Arts
Carnegie Museum of Art (Pitt)
Museum of Fine Arts, Boston
Fine Arts Museum (SF)
San Diego Museum of Art
MOMA (NY)
Philadelphia Art Museum

5,928
4,092
1,912
1,900
1,102
1,010
999
730
530
528
500
485
459
300
259
256
223
104

Share of
LA market
32%
19%
16%
11%
6%
4%
13%

Share of
US market

Endowment
Impact

3%
2%
1%
<1%
<1%
0%
1%
15%
12%
6%
6%
3%
3%
3%
2%
2%
2%
2%
2%
1%
1%
1%
1%
1%

% total national
Web Profile
art museum coverage (millions pages)
25.2%
17.4%
8.1%
8.1%
4.7%
4.3%
4.3%
3.1%
2.3%
2.2%
2.1%
2.1%
2.0%
1.3%
1.1%
1.1%
0.9%
0.4%

3.1
9.9
6.0
5.5
2.2
1.0
1.2
0.9
4.6
0.4
0.4
0.4
0.8
1.4
0.2
0.2
6.7
0.1

Note that some museums with half or less of the Gettys attendance are generating far more
press: the Whitney (with press largely driven by the Biennial), LACMA, Walker, and SFMOMA.
Other
Competitors

In addition to art museums, Getty customers (visitors, members, and donors) have significant
cultural alternatives in Los Angeles:
D The Museum of Tolerance does not offer art collections or culture, but is the Gettys
primary competitor as a community based museum. Seen largely as a community
education project, the Museum of Tolerance is the destination of choice for schools and
classes (although it charges student groups for museum tours and events). From an visitors
perspective, its strongest assets are the multimedia learning materials and it can hold an

audience. The community and educational mission of the museum along with its association
with the Simon Wiesenthal Center attracts huge funding worldwide.
D Other cultural alternatives include Disney Hall, the Ahmanson Theatre, the Natural
History Museum, the Museum of Television and Radio, frequent film festivals, etc., all
competing against the Getty for cultural consumer and tourist time, money, and energy.
If seen as a tourist, holiday, or weekend visit destination, particularly if entire families are
concerned, the Getty is also competing with other popular weekend destinations in the Los
Angeles area:
D Disneyland in Anaheim, opened in 1955, is the second-largest theme park in America
(after Disneyworld) and attracts 14 million visitors per year. With an adult admission price
of $69 and an average annual rise in ticket prices of 5%. Disneyland is a captive park
which tries to keep as much of the visitors dollar in the park as possible; Disney-owned
hotels and a hotel row along Harbor Blvd encourage patrons to spend two or more days at
the park.
D Six Flags in Valencia attracts 3.4 million visitors per year to its combination amusement
and water park. Catering largely to a less affluent and largely Hispanic family audience, Six
Flags appeals to thrill-seeking audiences. With an adult admission price of $39. Like
Disneyland, Six Flags is a captive park and seeks to keep as much of the visitors dollar in
the park as possible.
D Knotts Berry Farm in Bueno Park is largely an Orange County version of Six Flags and
attracts 4 million visitors each year. Knotts caters to a less affluent and largely Hispanic
family audience looking for thrilling rides that cant be found in Disneyland; it, too, is a
captive park seeking to extract as much of the visitors dollars as possible within the park.
$40 for an adult ticket. Like Six Flags, only a minority of Knotts visitors would consider the
Getty as an alternative entertainment destination.
3. Customer Analysis
The Getty Center/museum visitor/customer is looking for entertainment, education, selfimprovement, discovery, family togetherness, belonging. A museum visit is simultaneously
entertainment, diversion, education, and a social event. The most deep-seated needs of the
museum visitor are improving self-esteem, a sense of exclusiveness or privilege, a passion for the
new and different, and a desire for what is best for the family.
What Museum Visitors are Looking For
Core visitor feature needs
Exhibition content, newness, recognizability of
content, exclusiveness, educational materials
Core visitor benefit needs
Education, self-improvement, new experience,
delight, wonder, awe, exclusiveness, interest in
content
Core visitor deep needs
Self-esteem, a sense of privilege, a sense of
belonging, a sense of being superior in taste
and knowledge

Non-core visitor feature needs

Recognizable content, entertainment features, low
price, accessibility, parking, convenience
Non-core visitor benefit needs
Entertainment, family togetherness, new experience,
delight, discovery
Non-core visitor deep needs
Desire to provide the best for their families and children,
family love, guilt, boredom, sense of inadequacy

Non-school museum visitors and tourists for the major Los Angeles museums break down
into the following Claritas PRIZM categories (see Exhibit 1 for PRIZM NE category and
lifestyle descriptions):

% of
members
Blue Blood Estates
Young Digerati
Winners Circle
Money & Brains
Bohemian Mix
Pools & Patios
Urban Achievers
American Dreams
Gray Power
Big City Blues
Executive Suites
All others

14
12
12
9
8
5
4
4
3
0
3
23

% of
members
Young Achievers
Midlife Success
Affluent Empty Nests
Accumulated Wealth
Conservative Classics
Sustaining Families
All others

31
23
21
12
5
0
8

% of
visitors
3
7
4
9
9
5
9
7
5
4
2
36

% of
LA
1
1
2
8
8
1
7
9
0.5
5.5
1
56

% of
visitors

% of
LA

21
12
14
11
13
7
32

22
12
12
2
8
16
38

% of
U.S.
1
1
1
2
2
1
2
2
1
1
1
75

Typical museum member/visitors (the core visitor base for L.A. and U.S. museums) are:
> White
> Female
> College graduates three times more likely to have a college education than average
> Better educated and more affluent than the average citizen
> Mean age 52
> More likely to be empty-nesters
> Visit museums 10-12 times more per year than the average non-member/visitor.
Typical museum non-member/visitors (the outer core visitor base) tend to be:
> White
> Female
> College graduates
> Mean age 43
> More likely to have children
> Work full-time outside the home
2.58 million cultural tourists come to Los Angeles every year generating an average of $1.1
billion in economic activity. 25% of tourists visiting California cultural resources come to Los
Angeles. Cultural tourists spend the most out of any other tourist group: the average cultural
tourist spends $166 more per trip than other travelers.
Because the Getty Center and Villa do not charge entrance fees, have membership programs,
or actively solicit a broad base of donors, they do not have a detailed knowledge of their
visitor/customer base, but divide Getty visitors into five broad categories: general public,
commercial tours, schools and colleges, business visitors, and public programs.

Core
Competence

4. Company Analysis
The core competency of the Getty Center is the management of the endowment fund which
provides most of the operating revenue for the Center and Villa as well as funding for other Los
Angeles cultural institutions such as the Skirball. Prudent budgeting practices and well-managed

expenses provide more than enough cushion to withstand short-term market-related fluctuations
in revenue. In addition to investment income, the Getty Trust generates some other revenue
from parking fees, publishing, and bookstore and food service operations. It does not charge
admission to its museums, but demand for the exhibits would clearly support an admission fee if
the institution ever needed to bolster revenue to support operations.
The core competencies of the J.Paul Getty Museum are curatorial (the public display of
the permanent collection and special exhibits) and educational (docent tours, workshops, lesson
planning, classrooms, and professional development for K-12 teachers) Curatorial competency
includes European paintings, drawings, sculpture, illuminated manuscripts, and decorative arts;
European and American photography; and Greek and Roman antiquities.
The Getty Research Institute core competencies are the collocation and administration of
resources and activities required to advance the understanding of the visual arts. These
competencies include academic publishing, creation and dissemination of cataloging tools and
digital collections.
The Getty Conservation Institute core competency is scientific research, projects, education,
training, and the dissemination of visual arts conservation science: preventative conservation,
museum environment monitoring, analytical methods, site management, earthen and stone
conservation, wall paintings conservation, and technology adaptation.
The Getty Grant Program and the Getty Leadership Institute core competencies are the
ability to identify important institutional and individual art scholarship, conservation projects,
education initiatives, and museum management talent.
Revenue &
Profit

Operating Revenue
Operating Expenses
Net Operating Loss

2004
243,800,000
250,636,000
(6,836,000)

2003
267,768,000
274,967,000
(7,199,000)

Non-operating revenue and expenses, net

460,696,000

(171,402,000)

Net assets, beginning of year

Net assets, end of year

6,823,522,000
7,277,648,000

7,001,828,000
6,823,522,000

The Getty Trust depends almost entirely on its investment income to fund its operations, but
generates some revenue from parking fees, publishing, and bookstore/food operations.
Marketing
Mix

Promotion

Products: The principal Getty products to the general population are the galleries, the
permanent collection, and special exhibitions. Minor Getty products include Getty press books
(fine arts books and childrens books), merchandise (posters, cards, games, toys), multimedia, the
Web site content, learning material, and research.
Price: The Getty does not charge admission to either the Center or the Villa. Parking at the
Center is $7 and free at the Villa. In addition, both the Center and the Villa have museum stores
that sell proprietary Getty materials (books, posters) as well as other, non-proprietary
merchandise.
Place: As fixed art museums, the Getty collections exist on-site at the Center in Westwood
and the Villa in Pacific Palisades. The Getty also offers a rich website offering detailed
information on its collections, featuring more than 10,000 distinct pages of content.
Current promotions are limited to post banners, NPR sponsorship announcement, public
relations, event announcements and calendars, and the Web site.

Positioning

IMC Mix

Value to
the
Customer

Strengths

Weaknesses

The Gettys stated positioning is The Museum's goal is to make the collection meaningful
and attractive to a broad audience by presenting and interpreting the collection through
educational programs, special exhibitions, publications, conservation, and research. The Getty
also has the positioning,
Outside of its Web site, the Gettys promotional advertising of its two visitor sites (the Getty
Center and Getty Villa) is virtually nonexistent. The Getty invests in promoting exhibits through
limited out-door advertisement, primarily post banners for special exhibits. However, the Getty
has a very limited marketing campaign regarding its brand name or permanent collections
NPR sponsorship advertisements. The Getty invests great care in its biennial annual Trust
Report to inform and educate the (limited) public about its mission and milestones. While the
Getty does not advertise, it does invest in very limited collateral available at the Center and the
Villa. By request, a consumer can subscribe (free of charge) to e-Gettya press release updating
the consumer on future events and exhibits to be held at the Getty Center and Getty Villa.
The bulk of the IMC mix is borne by the Internet site which has been redesigned and
redeployed with the opening of the Villa in Malibu. The site introduces the two visitor sites,
states the mission of the Getty, job opportunities, etc. The site also includes lesson plans for K12 teachers. The Getty also has an Internet site for children where they can play an online video
game to solve an art mystery.
The size and management of the endowment has precluded the marketing discipline that
other institutions employ: The Getty does not conduct research to get to know its customers
and does not employ disciplined, measurable outreach to its customers and potential customers.
Other Los Angeles culture institutions, such as LACMA or the Los Angeles Symphony, have a
detailed understanding of the constituency and how to reach them. As such, the Getty does not
have a clear understanding of the value that it brings to its visitors across detailed market
segments they only understand the value to visitors in very broad categories: general visitors,
schools, public programs, etc.
5. SWOT
1. The J. Paul Getty Trust is a $4.4 billion dollar endowment that generates almost 250 million
dollars in operating revenue sufficient to cover almost 100% of operating expenses. The
Getty does not need to depend upon or solicit paying visitors or donors.
2. Unlike other Los Angeles museums or high culture destinations, the Center itself is a
destination because of its architecture and gardens
1. The J. Paul Getty Trust and its affiliated institutions have suffered from a series of scandals
and negative press including misappropriation of funds and trafficking in stolen antiquities.
2. The Trust has also come under fire from art scholars and patrons for not using its hefty
endowment to acquire legitimate major art works on the international market, sitting out
auctions of major paintings by Velazquez, Rubens, and others.
3. The permanent collection is widely viewed to be of a much lower caliber than other worldclass museums such as the Metropolitan, the Guggenheim, Fine Arts Museum, Boston, etc.
In addition, in many visitors minds, the Getty is about its architecture and gardens (as with
the Huntington) rather than its art collection. The Gettys actual collection does not have a
clear identity.
4. The size and management of the endowment has precluded the marketing discipline that

other institutions employ: The Getty does not conduct research to get to know its
customers and does not employ disciplined, measurable outreach to its customers and
potential customers. Other Los Angeles culture institutions, such as LACMA or the Los
Angeles Symphony, have a detailed understanding of the constituency and how to reach
them. As such, the Getty does not have a clear understanding of the value that it brings to its
visitors across detailed market segments they only understand the value to visitors in very
broad categories: general visitors, schools, public programs, etc.
5. Throughout the history of the Getty, it has never had an exhibition in the top 20 in terms of
attendance either worldwide or in the U.S.

Opportunity

Threats

1. In part because of the lack of vertical integration and conglomeration, in part because of the
risk-averse nature of red-ink business like museums and consequent lack of innovation
due to constant fund-raising, and in part because of the skill sets of professional marketers,
marketing and advertising in the museum sector is very primitive. Advertising strategy is
often based on for-profit consumer strategy rather than the core mission of the museum on
the one hand or simple communications/announcements on the other; important tools such
as market research and tracking are nonexistent. The Getty, as a red-ink business that
actually runs in the black without having to appeal to donors, has a unique opportunity to
harness the innovation and skills of these tools to further the core mission of the institution.
1. The J. Paul Getty Trust may lose its non-profit, tax-exempt status because of the recent
scandals, in particular the purchasing of stolen art. If that storm should be weathered,
Sarbanes-Oxley and increased state and federal scrutiny threatens to slowly erode tax-exempt
business activities of the Getty.
2. The Gettys attendance has been declining, as illustrated below:
(in thousands)

Getty Attendance

1999

2000

2001

2002

2003

2004

2005

General Public
1,381
Commercial Tours
146
Schools and Colleges
55
Business Visitors
45
Public Programs
39
Totals
1,667
National Art Museum Attendance
% Increased Attendance
% Decreased Attendance
% No Attendance Change

1,138
93
99
30
39
1,401

1,093
79
158
27
26
1,385

1,094
57
132
26
32
1,340

1,117
47
119
23
34
1,340

1,144
46
105
23
31
1,349

1,018
40
83
21
28
1,190

34%
21%
40%

34%
36%
35%

43%
29%
28%

45%
30%
25%

The Getty Villa is attracting 5,500 visitors per week, so total projected Villa attendance should be
between 200,000 and 240,000 this year. Since the Getty does not keep visitor statistics or market
research to show the visitor mix, the only measure of how well the Getty serves the diversity of
the Los Angeles community are passengers on Metros blue line who get off at the Getty:
(in thousands)

1997
Metro Blue Line Attendance

169

%
Visitors
10

2002

%
Visitors

2005

65

4.6

%
Visitors
0

3. Some of the antiquities in the Villa have a legal cloud hanging over them; the former curator
is being tried for what Italy calls her acquisition of stolen art for the villa. The bad press that

too often characterized Getty coverage in 2005 threatens to continue in 2006 as a result of
this high profile trial.

IMC Objectives
1. Impact
From a marketing perspective, the requirement is not so much to cater to customer desires
(as in traditional for-profit advertising), but to create a context in which the consumer is willing
to be challenged to expand the range of response (the function of art). Art is about resonance
and wonder, to quote Stephen Greenblatt, and the purpose of advertising is to create a context
which makes the consumer open to both these aspects by communicating directly to their needs.
Our IMC plan expects to increase on-site visitors to return the Getty Center to its historic
high of 1.7 million visitors and a 50% increase in schools and colleges visits:
(in thousands)

Center Attendance

2005

2007

Increase

2008

Increase

General Public
Commercial Tours
Schools and Colleges
Business Visitors
Public Programs
Totals

1,018
40
83
21
28
1,190

1,200
50
100
25
32
1,407

18%
25%
20%
21%
14%
18%

1,260
55
120
26
32
1,493

5%
10%
20%
4%
0%
6%

Because our IMC plan calls for an extension of what constitutes a visitor to include virtual
visitors, our total visitor growth impact is to increase visitors to 4 million visitors per year by
2008:
(in thousands)

Virtual Visitors

2005

Getty Center Site

GettyKids Site
GettySchool Site
Off-site Video Downloads
Totals

5,049
0
0
0
5,049

Daily Av. 2007

14
0
0
0
14

7,000
4,000
3,000
3,000
17,000

Av.
19
11
8
8
47

Increase
39%
NA
NA
NA
236%

2008

Av. Increase

9,500
5,500
4,100
3,700
22,800

26
15
26
10
62

35%
38%
37%
40%
34%

In order to directly impact measures of the Gettys success in its educational mission, we are
aiming to affect the following numbers:
(in thousands)

Education Measures
Schools/Colleges Attendance
GettyKids/Teens Visitors
Sketch Permits

2005

2007

Increase

2008

Increase

83
0
2

100
400
3

20.5%
N/A
50%

120
1,400
4.5

20%
250%
50%

We want to define sales success beyond an increase in visitors to a broader profile of visitors
to better fulfill the outcomes that measure the social and educational impact of the institution.
Using the typical PRIZM profile of Los Angeles area museum visitors, we want to change that
baseline over 2007 and 2008 as follows:

Blue Blood Estates

Young Digerati
Winners Circle
Money & Brains
Bohemian Mix
Pools & Patios
Urban Achievers
American Dreams
Gray Power
Big City Blues
Executive Suites
All others

% as
baseline

% in
2007

% in
2008

3
7
4
9
9
5
9
7
5
4
2
36

2
7
3
6
8
4
7
6
4
5
1
47

2
5
1
6
6
3
6
5
3
5
1
57

With regards to increasing the reputation of the institution, we expect to impact the coverage
and Web profile of the institution from the 2005 baseline
Coverage
Web Profile

2005

2007

Increase

2008

Increase

530
4.6M

1,500
4.9M

300%
6.5%

3,000
5.4M

100%
12%

2. Communications
In addition to the specific targets mentioned above, we are looking to develop in our target
markets, underserved segments, the following communications objectives:
Increase in aided and unaided awareness of the Getty; increased knowledge of events
going on at the Getty; an increased liking and preference for the Getty as a
family/entertainment destination among our target markets; and translate that into visits
to the Center or the Villa.
Pre-tested print ads must clear a hurdle rate of at least 5 percent over the norm on at
least two of the three McCollum-Spielman pretest factors: Clutter/Awareness, Main Idea,
or Attitude. Theatre ads/viral videos have to clear a hurdle rate of at least 8 percent over
the norm on at least two of the three McCollum-Spielman pretest factors.
3. Budget
Spend $16,566,000 million on advertising and promotional expenditures in 2007 or 5.1
percent of projected operating revenues of $325 million. This equates to an advertising and
promotional expense of $12.36 per visitor using 2005 visitor numbers.
Spend $8,350,000 million on interactive/viral advertising with $1,250,000 million on Web site
redevelopment and $3,600,000 million on multimedia/video.
Spend $7,316,000 million or 44 percent of the total on advertising with $5,626,000 million on
magazine advertising and $1,690,000 million on outdoor.
Spend $900,000 or 5.4 percent of the total on public relations efforts, primarily media
relations, media events, and press releases.

Marketing Strategy Recommendations

1. Target Markets
The primary target market are adults, male and female, with families, some college education
or degree, $30,000 - $60,000, in semi-professional, generally non-managerial professions. These
are target markets across several PRIZM categories that are one or two steps below the average

museum visitor in age, profession, and education. Our target markets are also more ethnically
diverse and represent a better mix of the national and southern California population.
The secondary target market is children across all income groups, but primarily in the target
segments. A tertiary target market is educators.
The perfect storm. The targeting and creative strategies are designed to create a perfect storm in
our target demographics where a parents interest in the museum and their desire to provide an
alternative to the cultural garbage that inundates their children intersects with a childs eagerness
to see the Getty this perfect storm is the most effective strategy for attracting underserved
demographics.
2. Type of positioning
Use quality and benefit positioning to primarily position the Getty as an alternative to the
garbage; positioning will stress the beauty, wonder, and discovery by stressing the location,
atmosphere, and the excitement of beautiful art. For underserved segments, the primary benefit
will be family togetherness at a kind of art theme park. Value positioning (low cost) will be
understressed in the IMC mix.
Pros and Cons of the Product Positioning
Pros
Family focus fits needs of underserved segments; makes the Getty less intimidating as
a high-culture venue; focuses on the entertainment aspects of the center; clearly differentiates the Getty from other museums as
the world-class museum designed to serve
a larger audience

Cons
Lowers the high-culture ambience of the Getty; core
museum-goers prize the exclusivity of the product -this exclusivity will be dampened by appealing to and
attracting a more diverse audience; the Getty has primarily positioned itself in its conservation, scholarship,
and leadership aspects this positioning will be dampened and attracting scholars/leaders may be harder

3. Marketing mix
Product. The product remains the Getty Museum sites, galleries, exhibitions, permanent
collection, and miscellaneous products. Our IMC plan rethinks the product mix to place greater
emphasis on interactive as a product relative to the audience and the social outcomes the
institution wishes to achieve.
Price. Admission to the museum and interactive resources will remain free.
Distribution. Distribution of the Getty product will remain on-site along with ramped-up
electronic distribution of Getty products across the three Web sites. Electronic distribution will
include viral sites such as YouTube, educational sites, and viral distribution.
Customer satisfaction. Rather than a marketing tool, customer satisfaction is an integral part of
the institutions impact and is measured as the quality of the experience. On-site and electronic
surveys will establish comparative experience quality across major southern California museums
and establish a baseline for future on-site and electronic experience quality surveys (see Exhibit
2 for an experience quality survey). Web site comparative surveys will establish a baseline for
Web site experience quality in July, 2006, and continual user and educator surveys will gauge the
quality of the experience of the Web site. On-site and electronic surveys will gauge the quality of
the experience

IMC Strategy Recommendations

Strategy

Statement
of the
Problem

Advertising
Purpose

1. Advertising Strategy
Total advertising and promotional expenditures projected to be $15,486,000 in fiscal 2006
(July 1, 2006 June 30, 2007) and is targeted at increasing visitors to the Getty Center,
broadening the visitor demographics, lengthening and deepening the relationship between
visitors and the Getty, and creating new categories of virtual visitors.
For Internet and multimedia, our goal is to increase awareness of the Getty, increase
awareness of the Gettys mission, and broaden the Gettys audience by attracting.
For print advertising, target specific print venues for travelers and particularly cultural
travelers. Use mainly full page 4-color ads or innovative multi-page page 4-color ads. In order
to further the education mission of the organization, we will target magazine venues for
educators, kids, and parents to push users to the GettyKids.edu and GettySchool.edu Web sites.
Use mainly full page 4-color ads.
Use outdoor advertising to go beyond special exhibition announcement to create higher
general awareness and preference for the museum. Innovative uses of outdoor will draw greater
attention and appreciation rather than standard outdoor.
The creative problem is to use advertising to further the mission and objectives of the
museum rather than produce a narrow set of outputs such as increased attendance or sales. Our
creative must create outcomes, such as an improvement in the culture and lives of the
audience something advertising rarely focuses on. By creating a context to open the audience
up to the resonance and wonder of visual culture, we can help build the outputs (awareness,
attendance) and the outcomes that further the mission of the institution.
Stated in a more mundane way, how do we open up the possibilities and wonder of visual
culture to a wider, less affluent, less educated audience? In the face of ever-proliferating sources
of entertainment (and junk entertainment), what will get people to choose high visual culture as
an alternative to the garbage?
The copy strategy is going to evoke a sense of wonder and wonderfulness as an
alternative to the junk. The tagline that embraces this position is The wonderful is closer than
you think.
Increase awareness. The purpose is to increase aided and unaided awareness of the Getty in
relation to the benefits and mission of the center. Both aided and unaided awareness is
widespread in Los Angeles and nationally; our goal is to deepen that awareness.
Increase preference. In addition to unaided awareness, we want to increase the preference to visit
in our target markets.
Prompt direct action. Our goal is to create new visitors in the target markets to increase the
demographic reach of the museums social impact. Our IMC plan involves a panoply of direct
actions that our target audience can make: Web site visit, Getty Film download, online
registration for newsletter, other downloads, survey, or on-site visit. One of the central goals is
to get to know the audience in underserved segments through registrations, surveys, and CRM
data mining, so a large part of the direct actions were asking the audience to take involves
interacting with the Web site.
Relate the Getty to needs. We need adults to identify their need for newness, discovery, and
wonder with the Getty Center; parents to identify their love for their child and their need to
rectify their guilt in aspects of their child-raising with the salubrious influence of the Getty
atmosphere and culture; children will identify their need to be entertained, play, and discover the
new at the Center.

Modify attitudes. We want our underserved target demographics to rethink what the Getty is,
not as some distant, high-culture palace, but a genuine refuge from the garbage.
Key
Customer
Benefits

The key customer benefit is what Stephen Greenblatt calls resonance and wonder, a oncein-a-lifetime experience of delight, inspiration, and discovery. For our underserved segments, the
Getty allows entire families to share this awe, wonder, and newness and translate that

Support

The Getty can deliver this benefit because of its inimitable combination of place, architecture,
and art.

Selling
Proposition

Positioning
Statement

Advertising
Appeal

Creative
Tactics

The Getty provides a recreation or entertainment that makes life more delightful, more
wonderful, and more inspiring because of a stunning combination of location, architecture,
atmosphere, and beautiful things crafted by the most inspired artists of the ages.
For adults, children, and families
Who want to experience new, wonderful, and uplifting
The Getty
Offers a universe of discovery, inspiration, and wonder
Because of its unmatched, inimitable combination of location, architecture, atmosphere, and
beautiful objects crafted by the most inspired and visionary artists of the ages.
Visual art is an irrational pleasure it is delight, discovery, seduction, self-awareness, the
shock of the new. Our advertising will appeal to the senses and emotions, to delight and feeling.
Wonder, awe, excitement, entertainment are the key emotional appeals that art provides.
Advertising will also elicit parents desires to do what is best for their children.
For Internet and multimedia, our goal is to increase awareness of the Getty, increase
awareness of the Gettys mission, and broaden the Gettys audience by attracting a diverse,
virtual visitor audience.
> Redesign of the Getty Web site to make the rich, deep content the front end of the user
experience. Addition of interactive elements, downloads, podcasts, a subscription-based
multimedia newsletter/podcast email, and a CRM database to track users. The site will
also include two newsletters, an art newsletter, and an educators newsletter.
> Create two new Web sites specifically geared to fulfill the educational mission of the
museum: GettyKids.edu and GettySchool.edu with educational content, games, and a
virtual art community similar to MySpace.com. Site to include registration, a CRM
database, a GettyKids e-newsletter, a GettySchool e-newsletter, and a monthly Art
Mysteries newsletter for grades 4-7.
> Once CMS and one CRM solution will provide the back-end administration and data
collecting for all three sites.
> Getty Films will greatly expand the video downloads available on the site on the front
page. Films will be educational and will be available beyond the site: films will have a
viral option (send to a friend) and be posted on alternative sites such as YouTube and
educational sites.
Print advertising will promote the Getty directly to adults and promote GettyKids and
GettySchool to children and educators. The Getty advertisements will be found mainly in travel

and airline magazines while the Web site ads will appear in kids, parenting, and educators
magazines to increase awareness and use of the site.
Theatre advertising is designed as public service advertising to get parents, adults, and even
children to think of alternatives to garbage culture. Rather than selling the Getty directly, the
ads will message the deleterious effects of popular culture and encourage parents to think of
alternatives that allow them to spend real time with their families. Like the Web sites, Getty
Films, and the outdoor advertising, one of the primary purposes of the campaign is to generate
publicity.
Use outdoor advertising to go beyond special exhibition announcement to create higher
general awareness and preference for the museum. Innovative uses of outdoor will draw greater
attention and appreciation rather than standard outdoor.
> The L.A. Murals project. Select two or three freeway venues and paint a mural of a
significant painting from the collection with the Getty logo painted on or beside the
painting.
> The Getty Bus(es). Increase the Gettys subsidy of the metropolitan Blue Line buses with
an agreement that one or two buses be painted entirely with Getty exhibit or museum
promotion. For instance, the current Courbet exhibit would translate into a Getty bus
with a landscape airbrushed on the full outside of the bus.
Execution
Technique

For Internet and multimedia (see Exhibit 3 for Internet designs):.

> The Getty site will not be redesigned in its look, but its architecture to front-end the
deep resources on the site.
> GettyKids.edu and GettySchool.edu will be designed to match the entertainment sites
that compete for childrens attention. For GettyKids, the site will be fun, colorful,
engaging, and age appropriate. GettySchool will have a more sophisticated look to more
closely match the high culture character of the institution, but will involve design
techniques to engage the audience that are age appropriate.
For print advertising (see Exhibit 4 for print ad designs):
> Getty ads will be high-class and engaging, but focus on the wonder and awe of the place
and the art.
> GettyKids and GettySchool ads will be fun, colorful, and entertaining.
Outdoor advertising will stress strong, bold copy and be designed as an advertising refuge
in the city by presenting eye-catching artwork (see Exhibit 5 for outdoor designs).
The theatrical commercials, designed as public service announcements rather than direct ads,
will be stark indictments of garbage culture and its effect on families. The goal, however, is to be
slightly humorous, but punch up that humor with a powerful ending. Narration will be nonexistent: the message will be delivered in only a couple short phrases (see Exhibit 6 for
theatrical public service commercials).

Media
Strategy

All print ads should be tested and pass the objectives established before publication. The
three major Web sites will be tested and usability tested across the target segments before final
production. For print advertising, it is recommended to use newspaper and magazine
advertising in magazines that focus on travel and tourism, including the in-flight magazines of
the major airlines that serve Los Angeles International Airport (beginning with the two carriers
that consider LAX a hub, American Airlines, and United). These magazines include Americans
American Way Magazine, Uniteds Hemispheres magazine, and the magazines of several other key
domestic carriers, plus the magazine of airlines serving passengers to Asia and Europe, including

Cathay Pacific Airlines, British Airways, Singapore Airlines. In addition to in-flight magazines,
our magazine advertising targets include key travel and tourism titles such as Travel + Leisure, and
National Geographic Traveler. In both cases, ads will be timed to coincide with editorial-calendar
features on Southern California and with weather conditions that typically draw visitors from
cold-climate regions to Southern California. Finally, the magazines targeted include two titles
aimed at children: National Geographic Kids and U.S. Kids, and two titles targeted at teachers and
educators: Teacher magazine, and Education Week.
Budget
Proposed IMC expenditures for 2007 of $5.966 million will be allocated to each element of
the promotional mix as follows:
Budget Elements

in thousands of $

Advertising
Magazine / Print
Outdoor (including unconventional outdoor)
Total IMC Budget

5,126
840
5,966

Schedule
The schedule for 2007 is as follows:
Jul

Advertising
Outdoor

Aug

Sep

Oct

Nov

Dec

Jan

Feb

Mar

Billboards

Apr

May

xxx

Xxx

Jun
xxx

Bus

xxx

xxx

xxx

xxx

xxx

xxx

xxx

xxx

xxx

xxx

xxx

xxx

Bus shelters

xxx

xxx

xxx

xxx

xxx

xxx

xxx

xxx

xxx

xxx

xxx

xxx

Bus benches

xxx

xxx

xxx

xxx

xxx

xxx

xxx

xxx

xxx

xxx

xxx

xxx

xxx

xxx

xxx

Murals

Magazines
American Airlines

xxx

United Airlines

xxx

Delta Airlines

xxx

Southwest Airlines

xxx

Continental Airlines
British Airways

xxx

xxx

xxx

xxx

xxx

xxx

xxx

xxx

xxx

xxx

xxx

xxx

xxx

xxx

xxx

xxx

xxx

xxx

xxx

xxx

xxx

xxx

Xxx

Xxx

xxx

xxx

xxx

xxx

xxx

xxx

xxx

xxx

xxx

xxx

xxx

xxx

xxx

xxx

xxx

xxx

xxx

xxx

xxx

xxx

xxx

xxx

xxx

xxx

xxx

xxx

xxx

xxx

xxx

xxx

xxx

xxx

xxx

xxx

xxx

xxx

xxx

xxx

xxx

xxx

xxx

xxx

xxx

xxx

Cathay Pacific

xxx

xxx

xxx

xxx

xxx

xxx

xxx

xxx

xxx

xxx

xxx

xxx

Singapore Airlines

xxx

xxx

xxx

xxx

xxx

xxx

xxx

xxx

xxx

xxx

xxx

xxx

US Airways

xxx

xxx

xxx

xxx

xxx

xxx

xxx

xxx

xxx

xxx

xxx

xxx

Alaska Air

xxx

xxx

xxx

xxx

xxx

xxx

xxx

xxx

xxx

xxx

xxx

xxx

Teacher Magazine

xxx

xxx

xxx

xxx

xxx

xxx

xxx

xxx

xxx

xxx

Education Week

xxx

xxx

xxx

xxx

xxx

xxx

xxx

xxx

xxx

xxx

xxx

xxx

xxx

xxx

xxx

xxx

xxx

xxx

xxx

xxx

xxx

xxx

xxx

xxx

National Geo Traveler

Travel + Leisure
National Geo Kids

xxx

xxx

xxx

U.S. Kids

xxx

xxx

xxx

xxx

xxx

Internet
Launch of new
Getty.edu website
Launch of

GettyKids.com
Launch of
GettySchool.com

xxx

xxx

Public Relations
Launch of Getty
Filmss
Art Caravan to
Public Schools
Art Education
Awards
Art on Our Freeways
Contest / Murals
Billboard installation xxx
Exhibit: Robert
Adams
Getty Buses
Exhibit: Courbet
Exhibit: Renaissance
Cabinet

Goals &
Objectives

Strategies

xxx

xxx

xxx
xxx

xxx

xxx
xxx

xxx
xxx

xxx

xxx

xxx

xxx
xxx

xxx

xxx

2. Sales Promotions
Because the primary Getty products are free the museum and the Web presence there are
no sales promotions in this IMC strategy.
3. Personal Selling
Because the primary Getty products are free the museum and the Web presence there is
no personal selling plan in this IMC strategy. The closest come to selling is the Art Caravan
education project.
4. Publicity
The overall goal of this public-relations plan is to heighten the frequency, number, and quality of
media mentions of the Getty in the U.S. and global media, resulting in a diverse mix of articles,
features, and stories in daily newspapers, consumer magazines, online sources, airline magazines,
broadcast news programs, television and radio talk shows. These articles will portray the Getty in
several lights: (1) as the leading source of art experiences for people and families in Southern
California; (2) as a noteworthy source of no-cost art education for students in public schools; (3) as
the leading source of creative art-oriented content on the Internet; and (4) as a premier tourist
destination in Southern California.
To achieve these objectives, this plan proposes several publicity programs designed to elicit positive
media coverage.
A. Innovative publicity programs to elicit positive media coverage of the Getty
B. Aggressive media relations within the Los Angeles media market, and across major markets
nationwide
C. We have planned the advertising to be prime publicity vehicles. The outdoor billboard
installations are a six-month store of coverage from announcement to unveiling; the
GettyKids and GettySchools sites are intended as one- to two- year stores of coverage with

Programs

Key Press
Kit
Messages

the largest coverage coming during the launch of the sites; GettyFilms is intended to create a
short burst of coverage.
D. GettyKids, GettySchools, and GettyFilms are all intended to provide vehicles for continued
press interest as content changes, new interactive materials are created, and the sites
themselves create reflection in the press about the nature and purpose of major art museums.
J. Paul Getty Trust Art on Our Freeways Contest & Public Murals
Summary: Bring art to the public in Southern California where they spend much time: with
murals on freeway underpasses throughout the region. One new mural painted each summer;
murals are reproductions of an artwork in the Getty Trust collection.
Media objectives: (1) Coverage in print and broadcast in Los Angeles County; (2) nationwide,
create a sense of excitement to heighten tourism.
Time Frame: Summer
Partners: CalTrans, Los Angeles Tourism Office, Los Angeles City Department of
Transportation.
Cost: $1 million per year for program and publicity efforts
J. Paul Getty Trust Excellence in American Art Education Awards.
Summary: An awards program for outstanding art teachers at public schools nationwide. Five
awards given annually; awards are $21,000 each, providing $14,000 for supplies and expenses for
art experience for students at winning teachers school and $7,000 fellowship for teacher.
Media objectives: Coverage in print and broadcast in five markets nationwide surrounding
awards.
Time frame: November, for tie-in with the American Thanksgiving holiday
Cost: $170,000 per year.
J. Paul Getty Trust Back-to-School Art Caravan
Summary: Bring hands-on art exhibits and qualified art instruction to each of LA Unifieds 504
elementary and middle schools for a schoolwide art experience. Each year, visit 25% of schools,
or 126 schools per year. Over a four-year cycle, Gettys Back-to-School Art Caravan will have
reached all 504 schools in LA Unified School District. Provide schools with advance publicity
materials to generate excitement and interest among teachers, administrators, and students.
Media objectives: Coverage in print and broadcast in Los Angeles County at back-to-school time.
Time Frame: September (back to school time)
Cost: $1.1 million per year for program and publicity efforts
1. Art is the Alternative to the Garbage. Art enhances the quality of life, and the Getty is the
premier source of free art experiences in Los Angeles County
2. The Getty brings art to the public realm in Southern California through murals, sponsored
public transit vehicles, and more. The Getty brings art to our daily lives.
3. Art is an important element of childrens education and the Getty Trust provides art and art
education to schoolchildren and special merit awards to art teachers -- at no cost to Los
Angeles public schools
4. Getty.edu and GettyKids.edu are cool destinations for cutting-edge entertainment (films,
games, etc.)

Lessons Learned
1) Advertising need not necessarily be tied to output; rather in a social or cultural organization
its better tied to outcomes that echo the mission statement of the institution. Outcome-based
advertising requires more creativity.

2) The power of strategically using unconventional advertising.

3) The challenge of accurately measuring the success of a marketing campaign, particularly a
campaign for a museum and non-profit organization.
4) Do not ignore "bad press." An organization, particularly a non-profit entity such as the
Getty, cannot afford such negative press, especially when it has such truth behind it.
5) Positive brand awareness is vital even if it does not affect sales & revenues. The Getty has a
sizable trust that virtually guarantees its fiscal sustenance, but scandal can erode its attitude
among key audiences.
6) Just as a consumer-product company can create a market demand for a new product, an art
museum can create demand (and appreciation) for art-appreciation, though the tactics differ.
7) Outcome-based advertising means sharing and not selling being part of the mission rather
than producing numbers.
8) Traditional measures do not apply part of the creativity in outcomes-based advertising is
coming up with ways to measure the fulfillment of outcomes rather than narrow output
measurements.

Exhibit 1: PRIZM Los Angeles Museum-Goer Categories

Blue Blood Estates
Blue Blood Estates is a family portrait of suburban wealth, a place of million-dollar homes and manicured lawns, high-end cars
and exclusive private clubs. The nation's second-wealthiest lifestyle, it is characterized by married couples with children,
college degrees, a significant percentage of Asian Americans and six-figure incomes earned by business executives,
managers and professionals.
2005 Statistics:
US Households: 1,059,462
Median HH Income: $113,903
Lifestyle Traits:

Took a golf vacation

Eat at fast food picked by kids

Read Fortune

Watch Major league soccer

Drive a Acura SUV

Demographics Traits:
Ethnic Diversity: White, High Asian
Family Types: Families
Age Ranges: 35-64
Education Levels: College Grad+
Employment Levels: Professional
Housing Types: Homeowners
Urbanicity: Suburban
Income: Wealthy
Income Producing Assets: not available
Young Digerati
Young Digerati are the nation's tech-savvy singles and couples living in fashionable neighborhoods on the urban fringe.
Affluent, highly educated and ethnically mixed, Young Digerati communities are typically filled with trendy apartments and
condos, fitness clubs and clothing boutiques, casual restaurants and all types of bars -from juice to coffee to microbrew.
2005 Statistics:
US Households: 1,374,520
Median HH Income: $81,006
Lifestyle Traits:

Buy wireless phones

Own a DVD player

Read Wall Street Journal

Listen to National Public Radio

Drive a Saab
Demographics Traits:
Ethnic Diversity: High Asian
Family Types: Mix
Age Ranges: 25-44
Education Levels: College Grad+
Employment Levels: Professional
Housing Types: Mix
Urbanicity: Urban
Income: Upscale
Income Producing Assets: not available
Winners Circle
Among the wealthy suburban lifestyles, Winner's Circle is the youngest, a collection of mostly 25- to 34-year-old couples with
large families in new-money subdivisions. Surrounding their homes are the signs of upscale living: recreational parks, golf
courses and upscale malls. With a median income of nearly $90,000, Winner's Circle residents are big spenders who like to
travel, ski, go out to eat, shop at clothing boutiques and take in a show.
2005 Statistics:
US Households: 1,374,520
Median HH Income: $81,006
Lifestyle Traits:

Go downhill skiing

Own a home theatre system

Read Parents Magazine

Watch The Cartoon Network

Drive a Chrysler Town & Country

Demographics Traits:
Ethnic Diversity: White, High Asian
Family Types: Families

Age Ranges: 25-54

Education Levels: College Grad+
Employment Levels: Professional
Housing Types: Homeowner
Urbanicity: Suburban
Income: Wealthy
Income Producing Assets: not available
Money & Brains
The residents of Money & Brains seem to have it all: high incomes, advanced degrees and sophisticated tastes to match their
credentials. Many of these citydwellers, predominantly white with a high concentration of Asian Americans, are married couples
with few children who live in fashionable homes on small, manicured lots.
2005 Statistics:
US Households: 2,265,564
Median HH Income: $82,570
Lifestyle Traits:

Shop at Nordstrom

Support the arts

Read Business Week

Listen to all-news radio

Drive a Jaguar
Demographics Traits:
Ethnic Diversity: High Asian
Family Types: Mix
Age Ranges: 45+
Education Levels: College Grad+
Employment Levels: Professional
Housing Types: Homeowner
Urbanicity: Urban
Income: Upscale
Income Producing Assets: not available
Bohemian Mix
A collection of young, mobile urbanites, Bohemian Mix represents the nation's most liberal lifestyles. Its residents are a
progressive mix of young singles and couples, students and professionals, Hispanics, Asians, African-Americans and whites.
In their funky row houses and apartments, Bohemian Mixers are the early adopters who are quick to check out the latest movie,
nightclub, laptop and microbrew.
2005 Statistics:
US Households: 2,108,548
Median HH Income: $51,108
Lifestyle Traits:

Shop at Banana Republic

Go jogging

Read Vanity Fair

Watch Friends in syndication

Drive a Audi A4/S4

Demographics Traits:
Ethnic Diversity: Black, High Asian & Hispanic
Family Types: Single
Age Ranges: <35
Education Levels: College Grad+
Employment Levels: Professional, White Collar
Housing Types: Renters
Urbanicity: Urban
Income: Midscale
Income Producing Assets: not available
Pools & Patios
Formed during the postwar Baby Boom, Pools & Patios has evolved from a segment of young suburban families to one for
mature, empty-nesting couples. In these stable neighborhoods graced with backyard pools and patios -the highest proportion
of homes were built in the 1960s- residents work as white-collar managers and professionals, and are now at the top of their
careers.
2005 Statistics:
US Households: 1,372,404
Median HH Income: $68,260
Lifestyle Traits:

Own a timeshare

Eat at Boston Market

Read Consumer Digest


Listen to jazz radio

Drive a VW New Beetle

Demographics Traits:
Ethnic Diversity: Mostly White
Family Types: Couples
Age Ranges: 45+
Education Levels: College Grad+
Employment Levels: Professional, White-Collar
Housing Types: Homeowner
Urbanicity: Urban
Income: Upper middle
Income Producing Assets: not available
Urban Achievers
Concentrated in the nation's port cities, Urban Achievers is often the first stop for up-and-coming immigrants from Asia, South
America and Europe. These young singles and couples are typically college-educated and ethnically diverse: about a third are
foreign-born, and even more speak a language other than English.
2005 Statistics:
US Households: 1,852,355
Median HH Income: $34,157
Lifestyle Traits:

Go to the movies

Shop at Banana Republic

Read Fitness

Listen to Black/Spanish radio

Drive a VW Jetta
Demographics Traits:
Ethnic Diversity: High Black, Asian & Hispanic
Family Types: Single
Age Ranges: <35
Education Levels: HS/College Grad+
Employment Levels: White-Collar, Service
Housing Types: Renters
Urbanicity: Urban
Income: Lower middle
Income Producing Assets: not available
American Dreams
American Dreams is a living example of how ethnically diverse the nation has become: more than half the residents are
Hispanic, Asian or African-American. In these multilingual neighborhoods -one in ten speaks a language other than Englishmiddle-aged immigrants and their children live in middle-class comfort.
2005 Statistics:
US Households: 2,434,986
Median HH Income: $51,850
Lifestyle Traits:

Go mountain biking

Buy Spanish/Latin music

Read Ebony

Listen to Spanish radio

Drive a Toyota Sienna minivan

Demographics Traits:
Ethnic Diversity: Black, High Asian, Hispanic
Family Types: Mix
Age Ranges: 25 - 44
Education Levels: H.S/College Grad+
Employment Levels: White-Collar, Service
Housing Types: Homeowner
Urbanicity: Urban
Income: Midscale
Income Producing Assets: not available
Gray Power
The steady rise of older, healthier Americans over the past decade has produced one important by-product: middle-class,
home-owning suburbanites who are aging in place rather than moving to retirement communities. Gray Power reflects this
trend, a segment of older, midscale singles and couples who live in quiet comfort.
2005 Statistics:
US Households: 1,174,575
Median HH Income: $50,222

Lifestyle Traits:

Go to museums

Own a vacation/wknd home

Read Wheel of Fortune

Watch Live with Regis & Kelly

Drive a Mercury Sable

Demographics Traits:
Ethnic Diversity: Mostly White
Family Types: Singles/Couples
Age Ranges: 65+
Education Levels: H.S./ College Grad+
Employment Levels: Professional, White-Collar
Housing Types: Homeowner
Urbanicity: Suburban
Income: Midscale
Income Producing Assets: not available
Big City Blues
With a population that's 50 percent Latino, Big City Blues has the highest concentration of Hispanic Americans in the nation.
But it's also the multi-ethnic address for downscale Asian and African-American households occupying older inner-city
apartments. Concentrated in a handful of major metros, these young singles and single-parent families face enormous
challenges: low incomes, uncertain jobs and modest educations. More than 40 percent haven't finished high school.
2005 Statistics:
US Households: 1,318,897
Median HH Income: $29,998
Lifestyle Traits:

Rent videos

Eat at Sizzler Steakhouse

Read Essence

Watch All My Children

Drive a Nissan Sentra

Demographics Traits:
Ethnic Diversity: High Black, Asian and Hispanic
Family Types: Mix
Age Ranges: <45
Education Levels: Elementary/H.S.
Employment Levels: Service, BC, WC
Housing Types: Renters
Urbanicity: Urban
Income: Downscale
Income Producing Assets: not available
Executive Suites
Executive Suites consists of upper-middle-class singles and couples typically living just beyond the nation's beltways. Filled
with significant numbers of Asian Americans and college graduates -both groups are represented at more than twice the
national averag- this segment is a haven for white-collar professionals drawn to comfortable homes and apartments within a
manageable commute to downtown jobs, restaurants and entertainment.
2005 Statistics:
US Households: 1,208,293
Median HH Income: $71,196
Lifestyle Traits:

Exercise at health clubs

Research Internet real estate

Read GQ

Watch Will & Grace

Drive a BMW 3 Series

Demographics Traits:
Ethnic Diversity: White, High Asian
Family Types: Singles/Couples
Age Ranges: 25-44
Education Levels: College Grad+
Employment Levels: Professional
Housing Types: Mix
Urbanicity: Suburban
Income: Upper Middle
Income Producing Assets: not available

Exhibit 2: Measuring Quality of Experience

Percentage of respondents that report:
1. An intangible sense of elationa feeling that a weight was lifted off their shoulders
2. A greater appreciation of specific works of art or a period or movement
3. An improved understanding of why some artworks are more valuable than others
4. A desire to return to the museum in the not-too-distant future
5. Ranking of museum as a significant asset among local community members
6. Ranking by local artists as important to them in their work or life
7. Ranking by schoolteachers as important to them (a) in the classroom or (b) as an extracurricular activity
8. Percentage of visitors surveyed one week after visit who can recall three or more artworks that affected them
9. Ranking by nearby colleges and universities as an important resource for instruction
10. Average length of time spent by visitors in front of ten significant works in the collection
11. Average length of time spent by visitors in a noteworthy gallery
12. Percentage of visitors feeling that didactic/educational aids (a) improved their
appreciation of art works or (b) detracted from their appreciation of artworks
13. Percentage of visitors who would rank visit as exceeding expectations
14. Percentage of non-members who visited the museum three or more times in one year
15. Percentage of visitors describing themselves as likelier to attend another art museum because of their visit
16. Extent of alignment of visitor demographics with demographics of local population
17. Average number of visits by each: (1) individual/family member; (2) corporate member
18. Number of visitors who paid full or discounted admission to the permanent collection or special exhibitions
19. Total number of visitors to the permanent collection or special exhibitions
20. Number of unique users to museum Web site
21. Average length of museum-Web-site visit
22. Number of hours open to the public
23. Amount spent on institutional evaluation
Source: Maxwell L. Anderson, Metrics of Success in Art Museums (The Getty Leadership Institute).

Exhibit 3: Sample Interactive

Getty Kids Web site

Getty Kids is a unique concept: an entertainment, game, and multimedia site designed to introduce grade school
children to visual arts and culture. The goal is to use entertainment, interactive, and online community formation
principles that kids are exposed to in entertainment sites and multimedia interactive to excite interest and
engagement. Online communities, multimedia, age-appropriate interface, online communities, and fun emails (Art
Mystery, etc.) will make the site sticky and a desired location.

Getty Schools Web site

The Getty Schools site should look very close to the Getty site. However, in the Getty Schools site, the learning
resources are front and center. The home page banner squares navigate directly to online educational information,
teacher resources, virtual exhibitions, and Getty Films. Every month will see the production of a new Getty Film that is
released on this site, the Getty site, and viral video sites, such as YouTube.

Exhibit 4: Sample Print Ad

Print ad for teachers magazines

Exhibit 5: Sample Outdoor

The Getty Bus

Advertising a special exhibition, the Getty bus is designed not only to increase awareness of the Getty, but
knowledge of events at the Getty.

Getty Mural

Exhibit 6: Sample Theatrical Ad

Pundit: Thats right . . .

Talk show host: SHUT UP! Shut . . .

Television host: up. Dont call me a liar, pal! Thats it,

Television host: . . . cut his mike, Im done wi . . .

Click

Wrestler: AAAAAAAH!
Announcer: Whoa! This is a bloodbath, folks, the Sma . . .

Announcer: . . . shinator is going cra . . .

Click

Talk show guest: . . . you know, youre dirt, man . . .

Talk show guest: . . . sleeping with my Grandma . . .

Talk show guest: Yeah, well, shes better . . .

Talk show guest: Get off of me, get that . . .

Talk show guest: You . . .

Talk show guest: . . . know what you are, eh?

Talk show guest: Get . . .

Talk show guest: Bleep bleep and then you can bleep . . .
Fade to black

Fade in to television in the garbage and parents and children leaving in their car.
New age music.

Music.

Child discovering museum.

Music.

Finish music.

Footnotes

Stephanie Strom, Soft Financing Causes Art Groups to Make Hard Choices, The New York Times, June 19, 2004

Are You Really Worth What You Cost, or Just Merely Worthwhile? And Who Gets To Say? Assembly 2002
keynote speech, www.getty.edu/leadership/downloads/weil.pdf
2

3 United States District Court, Central District of California, Maria V. Altmann, Plaintiff, vs.
Republic of Austria, et al., Defendants, CV 00-8913 FMC (AIJx), filed May 4, 2001: The Gallery
also engages in commercial activity by publishing its guidebook that is available for purchase in
the United States, p. 24.
4 Maxwell L. Anderson, Metrics of Success in Art Museums (The Getty Leadership Institute). Anderson suggest eleven
legitimate measures of success:
1. Quality of Experience
2. Fulfillment of Educational Mandate
3. Institutional Reputation
4. Management Priorities and Achievements
5. Caliber and Diversity of Staff
6. Standards of Governance
7. Scope and Quality of Collection
8. Contributions to Scholarship
9. Contributions to Art Conservation
10. Quality of Exhibitions
11. Facilities' Contribution to Core Mission