A S SI GN ME NT:

M AR K E TI NG PL AN
  

Word Count: 2,994

B AT H S PA U N I V E R S I T Y B U S I N E S S S C H O O L

BM7012-15: MARKETING MANAGEMENT

LECTURER: DR. NASIR SALARI

TABLE OF CONTENTS
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1. Executive Summary

This strategic marketing plan for Bristol-based contemporary Art Gallery Arnolfini presents the launch
of a new project series, “by two degrees”. Itstrives to respond to the exponentially growing public
concern for the environment by presenting artistic and scientific perspectives in an immersive and
compelling way. The project will be a collaboration with the environmental Create Centre Bristol and
will present exhibitions and a diverse range of events in the gallery space as well as public spaces in
Bristol. Building loyalty with Arnolfini’s target audience, increasing visitor numbers and raising
public awareness for the climate emergency are underlying strategic objectives. This plan examines
the current market situation both externally and internally by employing PEST and SOAR
frameworks. The most attractive audience segments for this project are Metroculturals and Experience
Seekers. These segments are attracted by immersive, ground-breaking art experiences in which
everything from the culinary programme accompanying the event to the subsequent audience
discussion points to interactivity and inclusion. Additionally, an increased interactivity on social media
and Arnolfini’s website will help strengthen the current audience’s loyalty, attract new visitors and
build sustainable brand equity. Growing visitor numbers and the pioneering work at the intersection
between artistic and environmental dialogue will prompt the Arts Council to re-include Arnolfini in its
National Portfolio for 2022-2026.
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2. Company’s Background

Arnolfini is an International Centre for Contemporary Art which annually welcomes approximately
450,000 visitors (The Big Give, no date). It was founded in 1961 as a “cultural pacemaker” to inspire
critical reflection and thought (Sharratt 2019). It is located in an accessible 19th-century warehouse on
the Bristolian harbourside, owned by the University of West England, with whom Arnolfini entered
into a partnership as a “subsidiary charitable incorporated organisation” (CIO) in January 2019
(Sharratt 2019).

As a registered Charity, Arnolfini depends on donations(Arnolfini, no date a). Although it was

removed from the Arts Council England (ACE) National Portfolio in 2017 due to no longer being “a
financially viable organisation” (Henley as cited in Sharratt 2019), it received £1,8 million from the
ACE for its exhibition programme up to 2022 (Sharratt 2019). From its linked charity, the Ashley
Clinton Barker-Mills Trust, Arnolfini has been receiving ongoing funds, which amounted to £216,103
during 2017-18 (Arnolfini Gallery Limited 2018, p.3).

Mission

“Arnolfini's mission is to foster artistic experimentation and engagement across the contemporary
arts.” (The Big Give, no date)

Through an interdisciplinary programme Arnolfini follows five priorities:

i. Experimentation: initiating emerging art alongside renowned art leaders

ii. Collaboration: developing transdisciplinary work within and beyond the arts
iii. Interaction: engaging a broad audience in participation
iv. Social Context: placing Arnolfini in its local community
v. Internationalism: building bridges between the local and international
(Trevor in Cummings 2011, pp.130-131)

Offerings

Arnolfini’s programme comprises a wide range of events.Contemporary art exhibitions are

complemented by performances, installations, film screenings, talks, and workshops on an array of
socio-cultural topics. Admission to these events is charged with affordability and accessibility to a
broad public in mind (Arnolfini Gallery Limited 2018, p.4).While Arnolfini provides a venue hire
service and undertakes sponsoring and (artistic) research (Charity Commission, no date), the Bristol
Brewing Company and the bookshop offer tangible products.

Total Available Market (TAM)

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Although Arnolfini attractsUK and international visitors, its core addressable market is located in the
South West and, more specifically, in the Bristol area. As of 2018, an estimated 5,6 million people
resided in the South West. Of these, 4,979,000 were over 10 years old (see Appendix 1).In 2018,
83,3% of the adult population stated that they had engaged with the arts in the past 12 months; 52,7%
reported to have visited a museum or gallery (DCMS 2019, pp.10,25). As Arnolfini offers a diverse
range of arts experiences, it addresses all those that engage with the arts generally. Considering this,
Arnolfini’s TAM would be approximately 4,147,507 people in the South West area.

3. Situation Analysis

Marketing problem

In light of growing public concern with the climate crisis, Arnolfini launches a series of exhibitions,
talks, screenings, and workshops whichcommunicatea range of environmental perspectives. The
project “by two degrees” will be held in collaboration with ‘Create Centre &Ecohome’.The novelty of
this work and growing brand equity aim to encourage the ACE to re-include Arnolfini in its National
Portfolio. To investeffectively into a marketing strategy, Arnolfini needs to determine the kind of
value which will be created for specific market segments and the value these segments will return to
the gallery.

Market audit

Environmental factorsfollowing the PEST framework are outside Arnolfini’s range of influence but
affect the company’s success nonetheless (Hill, O’Sullivan & O’Sullivan 2003, p.281):

Politico-Legal

i. In 2019, the UK Parliament declared an environment and climate emergency (Corbyn

2019).
ii. Bristol’s city council’s culture strategy aims to make Bristol a city of “openness”,
“imagination”, and “originality”, ensuring equality and inclusion, collaboration,
cultural learning and expression (Bristol City Council 2017, pp.14,25).
iii. The Charities Act 2011 defines a charity as an institution that exists for charitable
purposes and is under jurisdiction of the High Court. The Charities Act sets out legal
framework for CIOs and implies that CIOs:
a. benefit from limited liability protection
b. benefit from separate legal personality
c. are not subjected to company law (Farrer & Co 2018, pp.3,6)

Economic
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i. National austerity politics have resulted in considerable cuts to arts funding (Harvey
2016).
ii. The national benefit freezeis to end in 2020, resulting in a benefit growth by 1.7% (BBC
2019).
iii. The national unemployment rate (16 years and older) has decreased to 3,9% (Office for
National Statistics 2019a).

Socio-Cultural

i. Concern for the environment is at record high in the UK: in June 2019, a quarter of UK
population states environment as third most important issue facing the nation(see
Appendix 2). “Climate emergency” was declared word of the year 2019 (Zhou 2019).
ii. The Department for Digital, Culture, Media & Sport’sTaking Part Survey (DCMS 2019)
has found that in the last 12 months,63% of adults engaged with the arts three or more
times (see Appendix 3).
iii. Contemporary society is becoming increasingly multicultural: From 2001 to 2011, the
percentage of White British inhabitants decreased from 87.4% to 80.5% (see Appendix 4).
Asian ethnic groups were the second largest group, followed by Black ethnic groups
(Office for National Statistics 2019b). Arts engagement in 2018 was highest among those
of mixed ethnicity (DCMS 2019, p.10).

Technological

i. Time spent online: An Ofcom survey from 2018 shows that 1/5 of UK population with
access to the internet spend more than 40 hours/week online: 23.8% of adults report to
have visited an arts website or app in the last 12 months (DCMS 2019, p.5).

The SOAR framework dynamically analyses what an organisation is doing well and which aspects it
may improve to satisfy important stakeholders’ demands (Stavros & Cole 2013; Stavros, Cole &
Hitchcock 2014):
Strengths Opportunities
- Internationally renowned, interdisciplinary art - Partnership with ‘Create’ merges two fields of
centre with more than 50 years of experience expertise, the arts and the environment
- Strong volunteer base of 219 (Charity - Objectives meet rising public interest
Commission no date) - With the concept of environmental justice and
- Links with ‘Ashley Clinton Barker-Mills Trust’ racism in mind (Jantz 2018, pp.248-249),Arnolfini
and ‘University of West England’ can leverage its already strong diversity policies
- Relationship-building with young people to specifically address a non-white audience
throughNow or Never programme (Arnolfini no - Launch of collaborative digital spacesparks
date b) interest of people not currently interested in art
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- Free exhibition entry orenvironment

- Establishing of debt-free situation after funding
cut by ACE (Arnolfini Gallery Limited 2018, p.3)

Aspirations
- Arnolfini is deeply passionate about engaging a
broad public in the arts
- It is a local arts hub that sparks creativity and
discourse and wants to become a catalyst for
environmental discourse
- It can make a difference by combining its arts
expertise with the aspiration to engage the public
in the climate crisis discourse, spark ideas and
inspire change through interdisciplinary approach
Results
- obtain audience feedback through survey tablets,
which are strategically placed throughout gallery
- continuously monitor overall rate of growth in
donations, visitor frequency, and engagement
- frequently set up staff meetings to reflect on
previous results and how to improve these
- achieve re-inclusion in ACE National Portfolio

4. Strategy Formulation

Segmentation and Targeting

Arnolfini mainly targets Bristol and the South West. The psychographic segments whichconstitute
most of Arnolfini’s audience here are ‘Experience Seekers’ and ‘Metroculturals’, as they form the
largest audience proportions for itscultural offerings (Audience Finder 2019a). Even though they do
not make up the majority of the population, their keen interest in the arts makes them a generous TA.

A significant fraction of approximately 503,000 Experience Seekers in the South West are singles or
couples in their 20s and 30s. They tend to be students or recent graduates with an average annual
household income of £20,000 to £29,000 (see Appendix 5). Price-value ratio is important to this group
– they are likely to pay a premium for special experiences. 41% use websites to attain information on
galleries & museums, and more than a third use social media to inform themselves on nearby events
and to share their personal opinion (see Appendix 6-7). They are an ethically and environmentally
minded group of people, making them an ideal TA forthe project. Immersive, interactive, or site-
specificart works in unusual venues are likely to attract their attention (Audience Finder 2014a;
2019b).

The 168,000 South West Metroculturals are a highly qualified, urbanite group who work in high-status
professions with 26% earning an annual income of more than £60,000 (see Appendix 8). 61% use
museum & gallery websites to obtain information and 38% like to use social media to express their
opinion on content (see Appendix 9-10). Metroculturals are the best prospect for cultural innovation
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and may be influencers who seek intellectually stimulating art experiences. As they are not overly
concerned with the environment, it is valuable to address their concern for social justice rather than
concern for the environment when discussing the climate crisis (Audience Finder 2014b; 2019c).

Both segments “reflect the ethnic diversity of the country’s urban population with higher proportions
than the average of non-British white people” (Audience Finder 2019b) and are of sufficient size to be
efficiently targeted and served by Arnolfini through an attractive programme and interactive digital
marketing (Kotler & Keller 2016, p.285).

Positioning
The categorical competitive frame includesexhibition spaces in the Bristol city centre:

Spike Island is an art gallery that shows contemporary visual art exhibitions and talks, workshops and
film screenings (Spike Island, no date). Like Arnolfini, it is apublicly funded venue. Its key points-of-
parity (Kotler & Keller 2016, p.302) with Arnolfini are event programme, scope of exhibitions, and
the offered service of venue hiring. Points-of-difference (Kotler & Keller 2016, p.300) are Spike
Island’s focus on the visual arts and artist residencies & fellowships (Spike Island, no date). This
presents Arnolfini with the opportunity to communicate its value as a transdisciplinary arts centre.
Royal West of England Academy offers historic and contemporary art exhibitions. It’s POP with
Arnolfini is that it is a tourist attraction aimed at an arts-interested audience. It ismore prestigious
among traditional art enthusiasts but its exhibition admission is priced at £7,95 (RWA, no
date).Arnolfini is at the advantage of offering a more transdisciplinary arts experience for less.
Create Centre Bristolis an environment centre whose product offerings include environmental events
and the Ecohome(Create Bristol, no date). It can be regarded as an indirect competitor, as its TA is
different from Arnolfini’s (environmentalist, middle class vs. creative, diverse). However, both would
benefit from a collaboration in Arnolfini’s “by two degrees”: joint marketing efforts would reduce
costs and the attraction of new audiences could increase revenue (Hill, O’Sullivan & O’Sullivan 2003,
pp.286-287).

Perceptual Maps outlining different criteria by which Arnolfini and its competitors may be judged by
audiences may be found in Appendix 11. They show thatcompetition between Arnolfini, Spike Island
and Createis likely to be high regarding certain aspects(Hill, O’Sullivan & O’Sullivan 2003, p.285).

Optimal Points-of-Difference and Points-of-Parity(Kotler & Keller 2016, pp.300-302)

Points-of-Difference
- Transdisciplinary combination of
environmental activism and art
- Complete accessibility
- Sense of ‘doing something good’ and
Points-of-Parity
- Gallery café
- Accompanying event programme
- Minimalist gallery space
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‘learning something new’ - Intellectual stimulus

- Local embeddedness

Customer-focusedvalueproposition

The core customer value consists of intellectual stimulus and the sense of being actively involved in
(environmental) change, which creates self-esteem and a sense of prestige.
The actual service is characterised by Arnolfini’s reputable brand name and engaging arts experiences
it offers in a contemporary gallery environment and urban spaces. Flyers and posters are printed on
eco-friendly paper, tablets replace survey sheets, and a progressive donation system that allows
contactless and phone payments.
The augmented service offers the possibility to get involved for the long-term with Arnolfini’s project
as donators, ambassadors or volunteers.
Everyone involved with the project will follow this proposition as a guideline for making decisions
and interacting with the visitors (Kotler & Keller 2016, p.297).

Brand positioning bull’s eye

This bull’s eye will help

communicate the
marketing strategy to the
organisation in order to
guide staff’s “words and
actions” (Kotler & Keller
2016, p.309).

Branding Strategy
“by two degrees” will be branded as a sub-brand of the parent brand ‘Arnolfini’: Existing brand
elements like executional properties, visual identity and personality will be the same as the parent
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brand with some additions such as increased digital presence, interactivity, and environmental
awareness. “by two degrees” is a line extension of Arnolfini, i.e. it is a new service within the already
provided service category ‘art events’ (Kotler & Keller 2016, p.343).

Brand Equity
In order to define the value which is endowed to the programme by visitors, the way they feel, think
and act in respect to it (Kotler & Keller 2016, p.324) will be monitored by survey-tablets which will be
placed in the gallery spaces. In line with the ‘Brand Resonance Model’, Arnolfini strives to reach
sustainable positive consumer-based brand equity by “reaching the top of the brand pyramid” (Kotler
& Keller 2016, pp.329-330). This will be driven by visitor association with the established Arnolfini
brand name and its reputable programme. Secondary associations with the Create Centre,high-quality
customer service and endorsements through the ACE will further propel brand equity (Kotler & Keller
2016, pp.331,335). The ideal brand resonance pyramid for Arnolfini’s “by two degrees” can be found
in Appendix 12.

Communication
Arnolfini sets the objective to build brand awareness with its TA and help them to build a positive
attitude toward the brand (Kotler & Keller 2016, p.587). It promises a contemporary, high-quality arts
experience tied in with an environmental value and does so with a positive transformational appeal to
its TA, bringing the concept of environmental art alive via comprehensive targeted messages and
interactive web presence, which promises the feeling of engaging with an important issue (Kotler &
Keller 2016, pp.588-589).

Marketing Objectives
Arnolfini will achieve these SMART objectives as the driving force behind its marketing strategy:
 loyalty-building: cultivate Target Audience as project ambassadors within two years
 loyalty-building/ audience development: stage a minimum of one “by two degrees” event per
month and inaugurate two major exhibitions within one year
 audience development /diversification of product: develop new artistic works and
environmental awareness, which attracts and develops current audience within one year
 audience development: increase visitor numbers by 5% within one year
 audience development: be re-included in the ACE’s national portfolio 2022-2026
(Hill, O’Sullivan & O’Sullivan 2003, pp.290-291)

Marketing Mix
Arnolfini will have achieved brand resonance when it has built a strong community of project
ambassadors and frequent visitors. As the service is intangible, inseparable, variable, and perishable,
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its perceived quality is relatively unpredictable(Kotler & Keller 2016, pp.424). It is thereforeuseful to
apply the extended marketing mix as a conceptual marketing tool (Riggs 2015, p.85; Kotler & Keller
2016, pp.47-49). A more detailed version can be found in Appendix 13.

Product
Arnolfini will inaugurate two exhibitions, commission diverse artistic works and produce
complementary events.
Price
Exhibitions, installations and talks will be free of charge. Other event admission costs will range from
£5-13.
Place
Arnolfiniwill be the setting for most events, withexhibition openings and closings taking place in the
Arnolfini atrium. Site-specific events will be staged in public spaces and at Create. All premises are
accessible.
Promotion
Direct digital marketing is key in appealing to the TA, and many of Arnolfini’s marketing efforts will
rely on word-of-mouth and ‘shareable’ digital information. Programme highlights will also be
communicated via E-Mail. Street advertising will include advertisement in areas frequented by
students. Each event will be thoroughly designed to create immersive experiences. Ads in broadsheet
newspapers like the Guardian and Times will attract the audience’s attention for upcoming events.
People
Internal Marketing will ensure that everyone involved will have reasonable understanding of the
artistic practices and scientific research and provide highest possible visitor satisfaction. A significant
proportion of service quality is measured through employees’ high responsiveness, assurance and
empathy toward the customer (Parasuraman, Zeithaml & Berry 1988, p.23).
Process
Input given by visitors will always be taken into account, so project management must always remain
flexible and open to input. Many events will be complemented by audience talks.
Physical Evidence
The intangibility of the service will be made tangible by high quality “physical facilities, equipment,
and appearance of personnel” (Parasuraman, Zeithaml & Berry 1988, p.23). Arnolfini will provide
visual evidence on its online channels and newsletter and strive to reduce paper waste.
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5. Action Plan
(Westwood 2019, pp.85-88)
Aim(s) Action(s) Purpose Impact Responsibility Time
Frame
Development  research relevant artistic Provide an artistic Build brand Artistic Year 1
of artistic positions and contact them programme of the equity and Director, July –
programme  contact potential workshop highest standard audience loyalty Curatorial November
leaders and speakers which offers through Department
 communicate artistic projects ‘something for programme of
to technical department everyone’ but reliably high

 contact and establish possible focuses on quality

venues immersive art

 maintain close contact with experiences that

Create ‘think outside the

box’
Programme  Commission designer for Directly appeal to Increase visitor Marketing and Year 1
Release posters/leaflets TA through numbers and Press November -
 Commission printing company strategically placed audience loyalty Department December
 Distribute across Bristol & adverts and
South West comprehensive

 Place sponsored ads with direct digital

broadsheet, cultural journals, marketing

and social media

Project  book event suppliers Host successful Delight audience Marketing and Year 2
Launch (decoration, food, drinks etc.) launch event that and underpin Press January
Event  book event photographer guarantees positive success of future Department
 set up social media events media coverage and events

 send out e-mail invitations word-of-mouth

 host press conference

Control of  define continuous tasks Ensure consistent Remedy Marketing and Year 2
Project  monitorvisitor numbers, performance, shortcomings as Press January -
engagement and donations recognise quickly as Department December
 monthly staff meeting to shortcomings,and possible and
communicate issues reflect on brand convey to the

 establish regular focus group equity audience the

meetings with project feeling of being

ambassadors (from audience actively involved

and gallery associates)

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6. Appendixes

Appendix 1

South West population in 2018

Source: Plumplot (2018).

Appendix 2

Concern about the environment in the UK

Source: YouGov
(2019).

Appendix 3
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Source: DCMS (2019), p.4.

Appendix 4

Population of England and Wales by Ethnicity

Source: Office for National Statistics (2019b).

Appendix 5

Experience Seekers: Household income

Source: Audience Finder (2014a), p.5.

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Appendix 6

Experience Seekers: Internet use

Source: Audience Finder (2014a), p.3.

Appendix 7

Experience Seekers: Social Media Use

Source: Audience Finder (2014a), p.4.

Appendix 8

Metroculturals: Household income

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Source: Audience Finder (2014b), p.5.

Appendix 9

Metroculturals: Internet Use

Source: Audience Finder (2014b), p.3.

Appendix 10

Metroculturals: Social Media Use

Source: Audience Finder (2014b), p.4.

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Appendix 11

Perceptual Maps of Arnolfini and its Competitors

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Extracted from Hill, O’Sullivan

& O’Sullivan (2003), p.285.; Template: Perceptual Maps (2018).

Appendix 12

Arnolfini / “by two degrees” Brand Resonance Pyramid

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Extracted from Kotler & Keller 2016 (p.330).

Appendix 13

Detailed Marketing Mix for “by two degrees”

Product

Within one year, Arnolfini will inaugurate two exhibitions, co-curated between Arnolfini and artists of
contrasting styles. It will commission diverse works by emerging and established artists; workshops
and talks will complement this. These events will be organised by Arnolfini to ensure reliably high
quality which equals or surpasses its previous events. Audience engagement will continuously inform
artistic and academic approaches to the subject.

Price

Exhibitions, installations and talks will be free of charge with a cordial request for donations.
Admission costs will vary for performances and workshops, with Arnolfini’s regular price range from
£5-13. However, discounts will be available for students, families, the unemployed and people with
disabilities.

Place
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Arnolfini will be the setting for exhibitions and most talks, workshops, performances and installations.
Exhibition openings and closings will take place in the Arnolfini atrium, Site-specific events will be
staged in public spaces in Bristol and at Create. All premises must be accessible for people with
physical disabilities, and signers of BSL will be available for major events and on request for minor
ones. The service is directly distributed to visitors, but visitors will also be enabled to influence the
service through active participation digitally and in person.

Promotion

Direct digital marketing is key in appealing to the TA: Arnolfini’s website and social media channels
are as interactive as possible to allow for a high rate of individual engagement on those sites.
Sponsored ads on social media will go a long way especially with the “Experience Seekers” segment.
Many are likely to be ‘cultural innovators’, their good opinion of the project will be crucial, and many
of Arnolfini’s marketing efforts will rely on word-of-mouth and ‘shareable’ digital information. E-
mail distribution lists will be expanded to provide the interested audience directly with programme
highlights and crucial background information on artists, curatorial choices and events. Visitors can
sign up for these at each event. Although there will be initial street advertising that includes (digital)
posters and advertisement on public transport, especially around UWE campuses, buses and bus stops
frequented by students, promotion will focus on direct digital engagement and promotion via leaflets
distributed in local zero-waste shops, vegan cafés and art venue. Each event will be thoroughly
designed in terms of drinks, ambience and service in order to create immersive experiences which go
beyond ‘just’ art. These will be part of the artistic efforts and will be complementary to the art. Lastly,
ads in broadsheet newspapers like the Guardian and Times will attract the audience’s attention for
upcoming events.

People
Arnolfini staff and artists will be critical to delivering unique arts experiences and developing
environmental awareness in the audience. Internal Marketing will ensure that everyone involved will
have reasonable understanding of the artistic practices and scientific research involved in the project
and provide highest possible visitor satisfaction. Staff and artists must create an easily accessible and
immersive atmosphere in which visitors feel encouraged to engage in critical discussion and creative
practice. A significant proportion of service quality is measured through employees’ high
responsiveness, assurance and empathy toward the customer (Parasuraman, Zeithaml&Berry1988,
p.23). Thus, these factors must always be guaranteed.

Process
Tickets for events where admission costs apply can be booked via an easy-to-navigate online system
on Arnolfini’s website, via Eventbrite.co.uk and ticketmaster.co.uk, and at the Arnolfini reception.
Current admission processes will continue to apply. Input given by visitors via social media and
 19

website will be taken into account when planning events, so project management must be flexible and
open to input at all times. Many of the events will be complemented by artist and audience talks to
enable feedback and give visitors a sense of inclusivity.

Physical Evidence
The intangibility of the service will be made tangible by high quality “physical facilities, equipment,
and appearance of personnel” (Parasuraman,Zeithaml&Berry 1988, p.23). Arnolfini will provide
visual evidence on its online channels and newsletter.Promotional material will be printed with eco-
friendly ink on recycled paper, but information and advertisement will mostly be found on screens to
reduce paper waste. Every event and art work will be of high quality to surpass visitors’ expectations.
The website clearly highlights its programme via appealing imagery and accessible language and
allows publication of user-generated content and direct user-to-institution/user-to-user contact.

7. List of References

Arnolfini (no datea) About us. Available at: https://www.arnolfini.org.uk/about (Accessed: 3

November 2019).
Arnolfini (no dateb) What’s on. Available at: https://arnolfini.org.uk/whatson/ (Accessed: 10
November 2019)
Arnolfini Gallery Limited (2018) Accounts - 31 March 2018. Available
at: http://apps.charitycommission.gov.uk/Accounts/Ends04/0000311504_AC_20180331_E_C.PDF 
(Accessed: 3 November 2019).
Audience Finder (2014a) Experience Seekers – Statistical Appendix. Available at:
https://audiencefinder.org/app/uploads/2014/06/Experience_seekers_statistical_appendix1.pdf
(Accessed: 17 November 2019).
Audience Finder (2014b) Metroculturals – Statistical Appendix. Available at:
https://audiencefinder.org/app/uploads/2014/06/Metroculturals_statistical_appendix1.pdf
(Accessed: 17 November 2019).
Audience Finder (2019a) Audience Finder Artform. Available at:
https://audiencefinder.org/dashboard/audience/artform (Accessed: 3 November 2019).
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Audience Finder (2019b) Experience Seekers. Available at:

https://audiencefinder.org/dashboard/audience/segment/experience-seekers/details (Accessed: 17
November 2019).
Audience Finder (2019c) Metroculturals. Available at:
https://audiencefinder.org/dashboard/audience/segment/metroculturals/details (Accessed: 17
November 2019).
BBC (2019) Benefits freeze to end in 2020, government confirms. Available
at: https://www.bbc.co.uk/news/uk-politics-50278634 (Accessed: 6 November 2019).
Bristol City Council (2017) City of Openness, Imagination and Originators: A Strategy for Bristol
Culture. Available at: https://www.bristol.gov.uk/documents/20182/1803352/City+of+Openness
%2C+Imagination+and+Originators+-+A+Strategy+for+Bristol+Culture/80fc1bd3-149f-5420-
2982-6353aa415988 (Accessed: 6 November 2019).
Charity Commission (no date) Registered Charities in England and Wales - Arnolfini Gallery Limited.
Available at: https://beta.charitycommission.gov.uk/charity-details?
regid=311504&subid=0 (Accessed: 3 November 2019).
Create Bristol (no date) Welcome to Create. Available at: https://www.createbristol.org/ (Accessed: 10
November 2019).
Corbyn, J. (2019) 'Environment and Climate Change', Hansard: House of Commons Opposition Day,
1 May, Standing Order 9(3). Available at:
https://publications.parliament.uk/pa/cm201719/cmagenda/ob190501.htm#_idTextAnchor005
(Accessed: 6 November 2019).
Cummings, N. (2011) Self Portrait: Arnolfini Exhibition held at Arnolfini, Bristol 2011-2012
[Exhibition catalogue].
DCMS (2019) Taking Part Survey: England
Adult Report, 2018/19. Available
at: https://assets.publishing.service.gov.uk/government/uploads/system/uploads/attachment_data/fil
e/832874/Taking_Part_Survey_Adult_Report_2018_19.pdf (Accessed: 6 November 2019).
Farrer & Co (2018) Charitable organisations in the UK (England and Wales): overview. Available
at: file:///C:/Users/nmwil/Downloads/Charitable%20organisations%20in%20the%20UK
%20(England%20and%20Wales)%20overview.pdf (Accessed: 6 November 2019).
Harvey, A. (2016) Funding Arts and Culture in a time of Austerity. London: NLGN. Available
at: https://www.artscouncil.org.uk/sites/default/files/download-file/Funding%20Arts%20and
%20Culture%20in%20a%20time%20of%20Austerity%20%28Adrian%20Harvey%29.pdf (Access
ed: 6 November 2019).
Hill, L., O'Sullivan, C. and O'Sullivan, T. (2003) Creative Arts Marketing. Second Edition. Oxford:
Elsevier Ltd.
Kotler, P. and Keller, K. (2016) Marketing Management. Boston: Pearson Education.
Office for National Statistics (2019a) Unemployment rate (aged 16 and over, seasonally adjusted).
Available
at: https://www.ons.gov.uk/employmentandlabourmarket/peoplenotinwork/unemployment/timeseri
es/mgsx/lms (Accessed: 6 November 2019), graph.
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