The Gist

• Master reporting. Marketing reporting is pivotal in optimizing strategies.
• Overcome challenges. Successful marketers navigate reporting hurdles effectively.
• Balance matters. Harmonize data explanation and exploration in reports.

Marketing reporting plays a pivotal role in evaluating the success of campaigns, optimizing strategies and guiding future decision-making. Nonetheless, effectively demonstrating marketing’s influence during report presentations can be an intricate task, riddled with frequent challenges.

From grappling with an overwhelming deluge of data to struggling to communicate effectively with the intended audience, marketers often encounter hurdles that hinder the extraction of meaningful insights from their efforts. However, it doesn’t have to be this way. With actionable tips and strategies to overcome these challenges in marketing reporting, marketers can be empowered to create impactful reports that cut through the noise, speak to their audience effectively and surface the metrics that truly matter in driving success.

Related Article: Why Causal AI Is the New Marketer Must-Have for Deeper Insights

The Secret to Good Marketing Reports: You Need Multiple Reports

When making marketing reports, you will generally have two audiences with two very different outcomes: the various stakeholders within your organization who need high-level insight into marketing and the marketing team looking for continual improvement through deep data analysis. The first group needs reports that explain data, while the second needs reports that explore data. Both types of data analysis are highly useful but have key differences.

Explanation reports:

• Have one visualization that answers one question; don’t try to “combine” data points!
• Speak directly to business questions rather than show statistics; think, “What channel performed best this quarter?” vs. “here are all the channels we used this quarter.”
• Are digestible at a high level and require minimal knowledge outside of the report itself.

Exploration reports:

• Show the entire universe of your efforts and impacts.
• Often need analysis to find the key insights explanation reports don’t surface.
• Can be used to develop/test marketing experiments.

If you’re wondering whether your audience needs explanation or exploration reporting, ask these key questions:

• Who needs this report’s information communicated to them?
• What insights or actions do you want to communicate?
• How will the report’s data strengthen your argument or make action clearer?

Related Article: The Best Marketing Plans in a Cookieless World

Tips for Marketing Reporting Success

• Marketers often underestimate their expertise and assume the audience knows better about data. As the expert, you know what matters the most. Interpret data, facilitate understanding and encourage action by finding key insights and distilling them into bite-sized chunks. Communicate with confidence when using data.
• A common error marketers make is to present reports with extensive underlying data and complexity, neglecting the need for clear explanations. It’s tempting to showcase the thorough analysis you’ve performed; however, this makes your audience redo the analysis themselves! Concentrate on delivering the necessary information they require.
• It’s important — especially in live presentations — to let your audience know their role. What are the key action items and decisions that need to be made by them? Stating this at the beginning of your presentation prepares attendees to consider outcomes and keep them in mind during your analysis.
• Sometimes, you may need to present reporting when you don’t know what action items must be considered. In these cases, prepare and suggest possible next steps as a springboard for discussion. Making your audience make a decision versus brainstorming helps keep them engaged and focused on outcomes.
• If brevity is the soul of wit, then being succinct is the soul of insight. What would you highlight if you only had two minutes to tell your audience what they need to know? It’s not uncommon for leaders who are in executive roles to demonstrate High D behaviors, so “be brief, be bright, be gone!” matters.

Final Thoughts on Successful Marketing Reports

The key to marketing reporting success is finding the balance between delivering clear explanations and exploring the depths of data. By recognizing the different needs of your audience and providing reports that address their specific requirements, you can effectively communicate insights, prompt action and drive continual improvement.

Remember to be concise, purposeful and adaptable, and you will be able to ensure that your reports resonate with stakeholders and deliver meaningful impact.

Learn how you can join our contributor community.

Known for stalking front lawns in plastic form as much as they wade through the shallows of Everglades National Park, Biscayne Bay, or the Keys, pink flamingos are practically synonymous with Florida. Around the turn of the 20th century, however, native populations were decimated due to overhunting. Although residents later began to foster captive colonies, of the estimated 260,000 to 330,000 mature birds worldwide, Florida is thought to accommodate only about one percent of them. For artist Matthew Mazzotta, the iconic avian and the importance of sharing space with wildlife inspired a monumental, immersive installation at Tampa International Airport.

“Home,” a floor-to-ceiling sculpture of a lifelike flamingo, taps into the multiple meanings of its title. Travelers passing through the terminal may be “leaving their homes, returning back home, going to a new home, or simply to a place that feels like home,” reads a statement. In addition to being a place that people dwell, Florida thrums with abundant wildlife, and Mazzotta brings viewers up close and personal with one of the state’s most treasured animals. A glistening film on the ceiling imitates the surface of water, from which the bird’s head and spindly legs emerge as it scans the floor for food, and hidden projectors send glimmering light over the surface, mimicking dappled sunlight filtering through the water.

Mazzotta’s piece was recently selected as one of CODAawards top 100 public artworks to be installed internationally last year, and through July 31, you can cast your vote for your favorite. You might also be interested in the artist’s popular TED Talk about community spaces designed to delight and inspire possibility. Explore much more work on his website.

Do stories and artists like this matter to you? Become a Colossal Member today and support independent arts publishing for as little as $5 per month. The article Matthew Mazzotta’s Monumental Pink Flamingo Wades Through Myriad Meanings of Home at Tampa International Airport appeared first on Colossal.

“I’m motivated to make my work as a way of mapping myself and mapping my space,” says Lindsey Gradolph, who works as Lindzeanne. An ex-pat for nearly 20 years who is currently based in Tokyo, the artist finds solace in her freehand embroidery practice that produces dense, expressive planes of texture and color. “Sometimes there can be an uncanny feeling of being completely untethered, so I’m creating my own, familiar-to-me topography,” she tells Colossal. “I like to think of each of my pieces as its own little universe, whether that be internal or external. Someplace unfamiliar but perhaps closer than we think.”

Lindzeanne began stitching in order to upcycle clothing, a practical hobby that quickly became more of a drawing practice. Embroidery floss isn’t common in Japan, so the artist instead picked up basic hand-sewing and traditional sashiko threads that she stitches into second fabrics—she references mottainai, the Japanese term that translates to “waste nothing.” “Both those types of thread aren’t particularly useful for creating figurative illustrations or images, so that led me to experiment with different ways of filling a space or creating a design,” she says.

The resulting works are rife with patterns. Circular forms buttress dots in varying sizes, and stripes bisect planes of simple back stitches. Many of the motifs evoke the celestial and organic, whether galactic forms, the flow of bodies of water, or small bubbles drifting upward, the latter of which she tends to render in white. “To me, colors have a personality to them, and shapes have a weight and character to them, so when I’m thinking of a piece in my mind, or sitting down to cut fabric, I’m always imagining the push and pull, or the gravity that certain shapes and colors have with one another,” she says.

As for how long each piece requires, “it takes the time it takes,” she replies, noting that she’s uninterested in quantifying the hours of stitching. “I don’t think about the time when I’m working,” she says. “I like the tactile nature of textiles, and the repetitive nature speaks to me.”

The artist has a few works available on her site, and you can keep up with her practice, which includes a new tarot-inspired series, on Instagram.

Do stories and artists like this matter to you? Become a Colossal Member today and support independent arts publishing for as little as $5 per month. The article Dense Embroideries Map Celestial Expanses and Abstract Landscapes by Lindzeanne appeared first on Colossal.

Tue, 25 Jul 2023 12:22:44 GMT (1690287764264)

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by Maxine Rose

Mon, July 24th 2023, 10:39 PM UTC

Susquehanna Art Museum is holding a silent auction for Broad St. Market (WHP)

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Artist Kim Dacres prefers materials with history, those with scars from the world and where, as the saying goes, the rubber meets the road. She molds used tires from motorcycles, bikes, and cars into figurative sculptures that are celebratory and corrective, honoring the Black women who have influenced her and addressing the challenges many have faced. “Used relentlessly until they’re deemed broken or superfluous, discarded without thought or care— where others see waste, Dacres sees possibility,” says a statement about her transformation of the material. “And with that vision comes a profound resiliency, solace, and ultimately joy.”

Portraying subjects both real and imagined, many of Dacres’ most recent works consider questions of self-expression and presentation. Coated in sleek, black spray paint and weighing, at times, upwards of 90 pounds, the sculptures feature natural hairstyles like braids, dreads, and Bantu knots that, in white spaces, have historically been questioned for their respectability and professionalism.

“Sheryl” (2022), recycled auto tires, motorcycle tires, bicycle tires, bicycle tire tubes, zip ties, bike parts, screws, wood, and spray paint, 26.5 x 11 x 14 inches. Photos by Max Yawney

Dacres first used tires in 2008 for her undergraduate senior thesis show at Williams College. She spent the next decade in education, working as a teacher, middle school principal, and professor, and in 2017, she returned to the material and her practice.

Her most recent exhibition Measure Me in Rotations, held earlier this summer at Charles Moffett Gallery in New York, brought together a series of works that reference the students she met in the classroom and those in her communities in Harlem and the Bronx, where she lives and works, respectively. Emphasizing the power of hair to assert one’s identity, Dacres uses the unique tread, texture, pattern, and malleability of the tires to form individual characteristics. Smooth, inner tubing peeks through the knots in “Bintou,” while strips of sliced rubber cascade down the figure’s head in “Britt.”

An earlier work, titled “Hope,” is a prime example of Dacres’ desire to draw metaphoric parallels between the material and the subject. Referencing the histories of the Great Migration and Caribbean and African immigration that brought many Black people north, the figure appears to both scream and mouth the word “hope.” She explains:

Hope, in part, inspires the voluntary migration away from family, friends, and familiarity and towards the newness of place and the messiness of acculturation. The feeling instigates the momentum. We move for hope. We plan with hope in mind. Hope is the feeling of the future. The material embodies the idea of travel and ultimately, the friction needed to propel forward and away from home.

Dacres has a two-person exhibition with artist April Bey (previously) slated for June 2024 at UTA Artist Space in Atlanta. She was also recently featured in the books Black American Portraits and Black Power Kitchen. Find more of her work on her site and Instagram.

“Hope” (2022), recycled motorcycle and bicycle tires, wood, screws, braided bicycle inner tubes, zip ties, and spray paint, 27 x 15 x 14 inches. Photo by Max Yawney

Detail of “Sheryl” (2022), recycled auto tires, motorcycle tires, bicycle tires, bicycle tire tubes, zip ties, bike parts, screws, wood, and spray paint, 26.5 x 11 x 14 inches. Photo by Max Yawney

“Britt” (2023), recycled auto, motorcycle, electric skateboard, and bicycle tires, pressure-treated wood, construction screws, and black satin spray paint mounted on a red oak plinth, 69 × 13 × 13 inches. Photo by Max Yawney

“Natty Dread II” (2022), recycled auto and bicycle tires, wood, screws, bicycle parts, and spray paint, 37 x 9 x 17 inches. Photos by Max Yawney

“Bintou” (2023), recycled auto, motorcycle, electric skateboard, and bicycle tires, pressure-treated wood, construction screws, MDF, and black satin spray paint mounted on ambrosia maple plinth, 55 × 14 × 14 inches. Photo by Max Yawney

“Enid” (2022), recycled auto and bicycle tires, wood, screws, and spray paint, 27 x 13 x 12.5 inches. Photos by Max Yawney

Left: “Anita” (2023), recycled auto, motorcycle, electric skateboard, and bicycle tires, pressure-treated wood, construction screws, and black satin spray paint, mounted on pressure-treated wood base, 52 x 16.5 x 24.5 inches. Right: “Phyllis” (2023), recycled auto, motorcycle, electric skateboard, and bicycle tires, pressure-treated wood, construction screws, and black satin spray paint, mounted on pressure-treated wood base, 54.5 x 16.5 x 24.5 inches. Photo by Tom Barratt and Charles Moffett Gallery

Do stories and artists like this matter to you? Become a Colossal Member today and support independent arts publishing for as little as $5 per month. The article Tire Treads Twist into Braids and Knots in Kim Dacres’ Celebratory Busts of Black Women appeared first on Colossal.

The art world has been abuzz with excitement over NFTs, also known as non-fungible tokens. Securely stored on the blockchain and possessing immense potential, they have significantly transformed the landscape of art acquisition, sales, and collection. Both niche and well-established cultural institutions have leveraged this technology to engage their audiences through unique digital assets with the assistance of specialized organizations like Digital Basel.

However, despite a decrease in public interest and media coverage since their inception, tokens have gradually overcome initial backlash and secured their place in the art community. Today, the art community no longer associates NFTs solely with low-quality pictures but instead recognizes their true potential as valuable tools.

As art institutions at all levels integrate NFT technology into their business operation, the market faces new challenges and opportunities. In this article, we will discuss what these changes, how art institutions should adapt to them, and whether there are any prospects for galleries and collectors.

Breaking New Ground: The Challenges of NFT Adoption in the Art Market

Despite the growing popularity of this new digital asset in the art market, there are several challenges that may pose significant obstacles to NFT integration

Implementing NFTs into the existing ecosystem. As with any new technology, art institutions have to be technically proficient in order to efficiently mint, sell, and implement NFTs within their ecosystem. In addition, it would be a significant advantage if the individuals responsible for guiding art institutions through the new digital realm were familiar with the topic and had connections within the NFT and community. This way, galleries can efficiently use their efforts and resources, ensuring that their NFT endeavors yield the greatest benefits.

Lack of legislative regulation around NFTs. The art world has been a key driver of innovation and has generated significant interest in NFTs. As this traditionally offline world expands into online arenas, legal challenges arise, particularly in areas such as ownership, intellectual property, and regulatory concerns.

Fraudulent activities. Traditional to any emerging ventures, a bunch of schemes and offenses have emerged since the inception of NFTs. For example, there was an incident where a collector bought a fake Banksy NFT for £244,000. Therefore, as the infrastructure in the NFT space continues to develop, galleries and other art dealers should be familiar with traditional issues in the art world. Additionally, it is crucial to understand and stay updated on the development of valuation, security, storage, and insurance practices relevant to NFTs.

The fake Banksy’s NFT that was sold for £244,000.

However, no matter how significant they may seem, these challenges might only postpone the adoption of NFTs in the art market. As the initial hype decreased and the art community started approaching NFTs in a more constructive manner, even the most prominent art institutions expressed their interest. Art Basel, among them, stated in its research that the focus has shifted to the longer-term impact of blockchain applications in the art market.

Painting a Bright Future: The Art Market’s Prospects Soar with NFTs

Among all long-term impact applications of NFTs, there are several opportunities that can be particularly beneficial for organizations in the art market. As even major players suggest taking an interest in the new digital asset, every art institution should at least assess firsthand whether the benefits of NFTs are worth their time and efforts.

Collaboration between a blockchain ecosystem called Tezos and the prominent art institution Art Basel is an acknowledgment of NFTs as a valuable tool for the art market.

Diverse monetization range. In the traditional art market, galleries and artists rely on collaboration with other art institutions, exhibitions, and commissions to generate revenue streams. However, in the face of crisis, they often resort to selling valuable masterpieces to private collectors, which can  be beneficial in the short term but diminishes public interest in exhibitions. On the other hand, by leveraging NFTs, art institutions can not only generate revenue through high-liquid trading or exclusive services but also retain all traditional forms of art monetization.

New ways to engage collectors. NFTs can be used to create limited-edition artworks or to give collectors access to exclusive content. They can assist art institutions in establishing more personal and meaningful connections with collectors while engaging with the media through unconventional content to promote real-life exhibitions. For example, the Uffizi Gallery, a renowned art museum in Florence,  transformed their prized Michelangelo painting of the holy family, Doni Tondo, into an NFT and sold it for $170,000. As a result, the gallery was able to improve its financial situation after a cash-strapped 2021 year.

Doni Tondo, Michelangelo’s painting that was tokenized and sold for $170,000

Democratization of the art market. In the traditional art world, it can often be difficult for artists to gain visibility and have their work seen by collectors. However, tokenization can help to level the playing field by making it easier for galleries to sell their artworks. By circulating in the digital realm, NFTs enable art institutions to directly engage a global pool of collectors, allowing them to participate in bidding regardless of their status, financial capabilities, or location.

Enhanced transparency and provenance. As intellectual property infringements were relatively common in the digital art realm, artists sought more sophisticated solutions than placing  their works behind a paywall or adding watermarks. By combining art with NFTs, galleries can integrate proof of ownership that can be tracked, accessed, and verified at any moment. This empowers both the original and secondary owners of digital assets to protect their intellectual property without access restrictions or visual alterations.

Intermediaries of the modern NFT age. As we mentioned earlier, to navigate through the fascinating realm of NFTs, art institutions have to be technically proficient and knowledgeable. However, there is another option — all-around support from specialized organizations. For example, companies like Digital Basel help galleries connect with collectors, facilitate communication between them, and streamline the tokenization of art assets. In addition, these specialized assistants guide their clients through the new digital landscape, offering the most suitable practices and promoting NFTs in the media. This way, art institutions of any scale can effectively integrate new digital assets into their ecosystem and leverage them without the need to train their personnel.

Digital Basel — The Art Market of Tomorrow

Digital Basel is one of the specialized organizations that make NFTs more accessible for art institutions.

For some, the future of NFTs in the art market may appear uncertain and fraught with challenges and risks. However, it is important for artists, collectors, and other stakeholders to recognize the myriad opportunities and benefits that NFTs bring, ultimately transforming the art market for the better.

We encourage you to explore the revolutionary potential of NFTs and seek insights from art market professionals, such as Digital Basel, who can provide answers to the most intricate questions. By doing so, your gallery will be well-equipped to venture into a new digital realm with both ease and confidence.

Introducing Rakewell, Apollo’s wandering eye on the art world. Look out for regular posts taking a rakish perspective on art and museum stories.

As everyone knows, art deco is not a precise school but a retrospective label applied in 1966 to describe a style of design and architecture popular from about the 1910s to the 1930s. Rakewell is reminding you of this now as the term is currently enjoying undue prominence on account of none other than Elon Musk. Not content with introducing various ‘optimisations’ to improve profitability at Twitter – and in the process nearly halving its ad revenue – Musk has now ditched the famous blue bird logo for a stark X.

This is not just any X. This is the X that ‘should, of course, be Art Deco’, according to Musk’s own tweets (which will no longer be called ‘tweets’ – rather, they too shall now be called Xs). The X looks as if it is suffering from a split personality, with a single cross bar on one side and a doubled line for the other. Its attempt at art deco elegance isn’t helped by the fact that diagonals pixelate more easily than straight lines, thereby undoing any sense of style the logo might have had – to say nothing of the fact that this X is in fact nothing more than a Unicode character (U+1D54F, if you want to try it out).

Musk has been clear that this rebrand is part of his progress towards creating an ‘everything app’, where you can send a tweet, pay a bill and book a cab on the same platform. Clearly the letter X holds much potential. But Rakewell would quietly point out that X can mean many things. For every Madame X by John Singer Sargent, where the X seems to stand for everything from power to beauty, just look at Wade Guyton and his endless printed Xs that made up an entire movement, which may or may not now be closely related to a zombie art market. And of course, Kaws replaced the eyes of many creatures with Xs – need we say more? Rakewell can’t help but feel that Musk might not have captured the zeitgeist with his single letter. Instead, rather than any x-rated relevancy, it’s all a little zzz.