Art Jobs: Marketing & Social Media Manager @ The Broad

The Broad is seeking a creative, driven and experienced Marketing and Social Media Manager (MSMM) to develop and execute innovative marketing and social media strategies designed to achieve core objectives including: meeting and exceeding general admission attendance, exhibition and public programming attendance and revenue goals; increasing awareness of The Broad; and effectively engaging and communicating with The Broad’s large and diverse audience. The MSMM will report to the Director of Marketing and Communications (DMC) to support The Broad’s marketing and communications efforts, including social media (paid and organic), traditional advertising, digital marketing (including management and support of The Broad’s website and ticketing platform), email marketing, sponsorships and other marketing initiatives. This is a high-profile role at The Broad that requires the ability to successfully manage multiple priorities in a fast-paced environment, exceptional attention to detail, and an “outside the box” approach to establishing an exciting and enduring brand identity for the museum as a welcoming, inclusive and premier cultural destination on local, national and global levels.

Responsibilities

Social Media and Content Creation

  • Lead the development and implementation of innovative social media strategies that build on awareness of The Broad and ultimately, drive ticket sales and free general advance reservations
  • Monitor daily execution of social media content (i.e. scheduling posts, liking photos, tweeting, sharing, increasing social outreach, etc.)
  • Write all social media copy, consistently delivering on-brand voice posts that are 100% error-free across all social platforms
  • Create impactful and compelling social media content and video content that engages and educates The Broad’s audience, working closely with key internal and external stakeholders
  • Manage social media KPIs and produce monthly recaps, optimizing performance of specific tactics against plan goals
  • Monitor for brand mentions across all social media channels. Identify and engage with posts that provide an opportunity to positively impact brand reputation and work with Visitor Services to respond to questions in a timely manner
  • Manage photography and videography for the museum, including hiring and supervising photographers, videographers, producers and editors
  • Stay up-to-date on new social media tools and best practices, identifying ways for The Broad to be at the forefront of social media trends
  • Continue to grow and manage the museum’s relationships with social media influencers

Marketing and Advertising

  • Assist with the development of and implementation of integrated marketing and communications plans designed to refine and strengthen the museum’s brand identity, drive attendance and revenue, and maximize awareness of and audience for the museum, its exhibitions and its public programs
  • Assist with the planning of and implementation of digital marketing campaigns including paid social media, display advertising and SEO/SEM
  • Work with external digital agency to manage, execute and monitor digital campaigns, providing strategic guidance to drive results and ensure goals are met or exceeded
  • Develop creative concepts and write copy for marketing and advertising collateral such as The Broad’s general information brochure and other museum print collateral, OOH advertising, print advertising, radio ads, paid social media ads, display advertising, email newsletters, etc.
  • Ensure that The Broad’s brand identity and voice are consistent across all channels
  • Set and oversee project timelines for the design and production of advertising and marketing materials, ensuring projects remain on track to meet deadlines
  • Manage day-to-day communications and operations with internal stakeholders, external agencies and vendors regarding project timelines, files, specs, production issues, etc.
  • Manage and update all onsite signage and marketing/collateral
  • Provide exceptional attention to detail as the final marketing eye on all marketing and advertising creatives and assets: ensure copy is 100% correct, images are clear, etc.
  • Stay up-to-date on art world and museum industry news, trends and influencers
  • Maintain image, video and digital asset archives, utilizing The Broad’s DAM to tag, organize and manage assets

Email Marketing

  • Develop and manage The Broad’s email marketing calendar
  • Write, design, test and schedule emails, collaborating with Curatorial, Audience Engagement, Visitor Services, Retail, IT and design agency to develop and produce email newsletters
  • Manage visitor email communications such as pre-visit emails
  • Develop and manage transactional/triggered email campaigns (such as a welcome series, re-engagement campaign, etc.)
  • Optimize email performance via A/B and split tests
  • Analyze email performance data to better understand The Broad’s audience, improve email marketing KPIs and make actionable recommendations that will optimize email performance
  • Manage email marketing KPIs and produce monthly recaps

Requirements

Apply by July 8, 2019. Click here to see the listing and full requirements.

Good luck!

These are Drying Times

Check out this video where Richard and Darin of R&F Handmade Paints talk about things that affect the drying rates of R&F Pigment Sticks. Probably one of the most frequently asked questions we get about Pigment Sticks is, how long they take to dry compared to oil paint out of a tube. Don’t forget that R&F Pigment Sticks are ON SALE at 15% OFF during our MOVING SALE.

We Now Offer Same-Day Delivery in DTLA

We now offer same-day delivery in DTLA!

Hey DTLA, we get it. You dream it, you work hard, you grind ‘til you own it. We know you can’t always leave your studio/office when you run out of something bc you’re mid-flow, so we now offer same day delivery!

Whether you need a tube or a gallon of Titanium White paint, a sheet of watercolor paper or a case of foam board – no matter the temperature this summer, if it’s in stock at the store, stay cool and get what you need delivered to your door. Check out our delivery area and rates.

What if you’re in Los Angeles, but not in our DTLA delivery area? We can still ship to you! Orders of in-stock items placed before noon generally ship the same day, and would arrive the next day in most areas of Los Angeles.

Pierre’s ArtVentures: Albert Handell and Oil Pastels by Sennelier

There are so many reasons to like Sennelier Oil Pastels, check out this video where Pierre from Pierre’s ArtVentures hangs out with artist Albert Handell, who chats about how he uses Sennelier Oil Pastels and oil paint in his work.

Created in the 1940s in collaboration with Picasso, Sennelier Oil Pastels are creamy, lipstick-like pastels that are rich in pigment, cover well, and have outstanding opacity and lightfastness. Available in 110 “classic” colors and 10 iridescent colors, they/re acid-free, can be applied to any surface, and may be thinned with turpentine and worked with a brush. Modern Sennelier Oil Pastels’ diameter are 20% larger than the original stick, and are available in a larger size called “Grand”– the equivalent of eight regular size sticks.

Meet M. Graham Paint Artist Ambassador Ron Stocke, Watercolorist

“The watercolor medium is honest, challenging and always new. It is the oldest pursuit that I know and has enriched my life at every level. While sometimes frustrating even for the most experienced watercolor painter, it is invigorating and always a learning experience.”

An award-winning watercolor artist, Ron Stocke is a regular contributor to, and has been a cover artist for Watercolor Artist Magazine as well as other publications. Teaching comprehensive workshops throughout North America and Europe, he also conducts demonstrations and lectures on various art materials and creating a safe, environmentally friendly studio. Ron holds Signature Membership with the American Watercolor Society, National Watercolor Society, Northwest Watercolor Society, is an elected member of the Canadian Society of Painters in Watercolour, and a member of the American Impressionist Society. He has been an Artist Ambassador for M.Graham Watercolors for over 15 years.

How M. Graham Makes Paint

M. Graham believes that the best paint makes better paintings. Consequently, the best ingredients make better paint and this video explains the difference M. Graham’s ingredients make in setting their fine paints apart. Whether it’s the walnut oil, the honey used in their watercolor, or the high solid acrylic emulsion, M. Graham vehicles are chosen because they are qualitatively different: In terms of their appearance. In terms of how much pigment they can carry. In terms of how they feel and respond on the artist’s brush.

Announcement: Gamblin Discontinued Products

Gamblin is discontinuing the following products and we couldn’t be more proud of them for leading the way:

Why no more Rabbit Skin Glue and Traditional Gesso?
We recognize that many painters value the working properties of rabbit skin glue and traditional gesso. We have our own values, however, and these products do not align with them. We don’t want any part of the the rabbit farming industry. Period.   

For decades, Gamblin PVA Size has given artists a much higher performing and vegan alternative to Rabbit Skin Glue. Our Ground gives painters brighter colors, greater permanence, and an animal-free alternative to Traditional Gesso for preparing panels and canvases. It’s time to leave the past in the past. 

Thanks again. 
Thank you so much for your longstanding support of Gamblin and for all of your ideas and feedback along the way. We’ve been listening and have some exciting things coming this year and in the years ahead. 

Gamblin’s Alternatives to Titanium White

Alternatives to Titanium White

Gamblin Artist’s Oil Colors makes more of their artist’s grade Titanium White than any other color… by far. For most painters, it’s the first white we use. And for some, the only white ever used. There are some good reasons for this. Gamblin Titanium White has a strong tinting strength and an unparalleled, beautiful texture. It’s terrific for direct painting techniques and for quickly lightening the value of other colors.

With that said, many painters could be better served at times by whites other than Titanium White. Swapping Titanium White for any number of alternatives can solve problems and create meaningful, new artistic possibilities. Let’s explore a few. 

Pure White  
Whether the painting in question is abstract, representational, a bit of both or somewhere in between, there are situations where the use of straight, pure white is called for.  For these situations, we recommend Radiant White, our brightest white. Radiant White has a high content of titanium dioxide pigment and is bound in safflower oil, yielding a bright white that has a neutral temperature. Our testing indicates that safflower whites hold their colors best over time. 

Tempering Tinting Strength
No white pounds color down like Titanium White. It’s high tint strength can overwhelm colors, making them appear chalky in tints. A number of our other whites contain less titanium dioxide, which means a lower tint strength, and in turn more saturated color mixtures as well as more subtlety and control in color mixing.

If you find Titanium White a bit too strong in mixtures, we’d suggest trying our Titanium Zinc White. We designed it to be the perfect, all-around mixing white and to have the perfect texture to support the work of painting. 

Flake White Replacement combines a lower tinting strength with a dense, ropey texture. Even stiffer than Titanium White, but less powerful in mixtures. Titanium White in our 1980 line is a valuable alternative when an even lower tint strength is desired. Titanium Zinc White and 1980 Titanium White are both bound in safflower oil. 

The swatches below show Titanium White, Titanium Zinc White,and Titanium White 1980 mixed 5:1 with Quinacridone Red.

For comparison sake, we prepared the same mixtures, but reversed the ratios – 1:5 white into Quinacridone Red:

How about matching the color of your white to the color of your light? 

Gamblin Warm White and Cool White are designed for painters who want to factor the color of the light into their color mixtures. The color of the light source influences all of the other colors in the painting’s subject matter. Using a white that matches the temperature of your light makes it much easier to create a consistent quality of light and color harmony throughout your painting.

Why not take this a bit further and use other high-value colors as your white? Below are a few examples.

Portland Grey Light

“Using Portland Grey Light as a white is great for tonal painting. It is slightly darker in value than pure white so the value range is limited on the light end. But what is most exciting to me is its effect on color. It creates lovely harmonious mixtures when added to the cadmium colors on my palette. The result is beautiful half tones that are not as chalky as they would be if white were used. These harmonious, greyed-down tones sit beautifully together on the canvas as a result of them each having a common ingredient…Portland Grey Light.”
– Eric Jacobsen
jacobsenfineart.com

Eric Jacobsen, Backyard, oil, 8” x 16”

Titanium Buff 

In our discussion of colored greys, we consider Titanium Buff to be a yellow-grey. When used as a white, it simultaneously mutes and warms colors and results in a subtle harmony.

“On an Alaska fishing trip in early July, I shot a photo as first morning light permeated the distant misty landscape and played across the ocean surface with a warmth that belied the cold morning. To capture this unique atmosphere back in the studio, I set aside my usual Titanium White for tinting and switched to Warm White and Titanium BuffWarm White was used in a limited fashion for my lightest values and highlights, while Titanium Buff was used in nearly all color mixtures. As a muted tinting color, Titanium Buff unified and subdued my color palette helping to better capture the scene.”
– Dave Bernard
Gamblin Product Specialist

Dave Bernard, Sitka Morning, oil, 12” x 16”

Portland Warm & Cool Greys

“I found my paintings became chalky and dense due to the overuse of Titanium White. So, I set that tube a bit out of reach on my palette and now use Portland Warm Grey or Portland Cool Grey when I am looking for the “right white.” There is very little real white in the natural world and these soft grey tones have proven to be a good option on their own or as a basis for mixing other colors.”- Kris Ekstrand
www.krisekstrand.com

Kris EkstrandLine of Passage, oil on canvas, 60″ x 48″

Happy National Poetry Month!

Poetry has long been a source of inspiration for our art-making. To celebrate National Poetry Month, we’d like to share this lovely poem. To all the artists and muses out there, we salute you and we thank you.

YOUR MISSION by Ellen M.H. Gates

If you cannot, on the ocean,
Sail among the swiftest fleet,
Rocking on the highest billows,
Laughing at the storms you meet,
You can stand among the sailors,
Anchored yet within the bay,
You can lend a hand to help them,
As they launch their boats away.
If you are too weak to journey
Up the mountain steep and high,
You can stand within the valley,
While the multitudes go by;
You can chant in happy measure,
As they slowly pass along;
Though they may forget the singer,
They will not forget the song.
If you have not gold and silver
Ever ready to command;
If you cannot toward the needy
Reach an ever open hand;
You can visit the afflicted,
O’er the erring you can weep;
You can be a true disciple,
Sitting at the Savior’s feet.
If you cannot, in the conflict
Prove yourself a soldier true,
If, where fire and smoke are thickest,
There’s no work for you to do;
When the battlefield is silent,
You can go with careful tread,
You can bear away the wounded,
You can cover up the dead.
If you cannot, in the harvest,
Gather up the richest sheaves,
Many a grain both ripe and golden
Oft the careless reaper leaves;
Go and glean among the briars
Growing rank against the wall,
For it may be that their shadow
Hides the heaviest wheat of all.
Do not, then, stand idly waiting,
For some greater work to do;
Fortune is a lazy goddess,
She will never come to you.
Go and toil in any vineyard,
Do not fear to do or dare,
If you want a field of labor,
You can find it anywhere.

Introducing: Shantell Martin and Krink K-51 Permanent Ink Markers

Shantell Martin (@shantell_martin) is an artist based in NY. Her go-to Krink marker to create fluid, bold lines is the K-51 Permanent Ink Marker. This year Martin was invited to create an immersive, site specific installation in Lincoln Center for the seventh edition of the New York City Ballet’s Art Series. The Art Series was built on the NYCB’s history of collaborating with emerging and established artists and continues to intersect performing and visual arts.

Here’s Martin using the K-51 Permanent Ink Marker in her installation and performance.

NYCB x Shantell Martin. Photo by Roy Rochlin.
NYCB x Shantell Martin.
NYCB x Shantell Martin. Photo by Roy Rochlin.

The K-51‘s Super Black alcohol-based ink is permanent and opaque, and works well on almost everything. Excellent for use on paper, cardboard, metal, and painted surfaces. With a 30ml capacity and a 15mm block nib, best results are achieved on smooth surfaces. A great marker for larger drawing, making signs, and calligraphy.

K-51 Close up.
Krink K-51 Permanent Ink Marker

Credits

Shantell Martin (@shantell_martin)

New York City Ballet (@nycballet)

Roy Rochlin (@royrochlin)