Located at the pulsating heart of London, the Tate Britain happens to be an art gallery exhibiting some of the finest collections of British artifacts and paintings. The main gallery, which is a part of the Tate gallery network in Britain, houses several channels that oversee the branding of contemporary art with music. Works of some of the most notable poets, artists and musicians of the present generation, including William Blake, Sonia Boyce, Damien Hirst, Cornelia Parker, Mark Dion, Tracey Emin, Bruce Nauman, and Jeffrey Lewis, are showcased at the gallery. Antique English art and global contemporary art have been put on display in the Gallery with due importance attached to their careful preservation (Tate Britain n. d.).
The first segment of this report is going to provide a SWOT analysis of the internal strengths and weaknesses of the Tate Britain, followed by a close scrutiny of the outside scopes of further development and possible difficulties in functional integrity. The analysis will be made to key out a few target markets to which the products of the Gallery may be sold.
The second part of the report will document the marketing action plan by incorporating the basic marketing strategies and relating them to the outcomes of the SWOT analysis. Recommendations for improvement will be made keeping in mind the budgetary constraints of marketing.
The idea of value-based branding may be looked into for drawing out a prospective marketing strategy for the Tate Gallery. As an art and heritage museum that has been serving the interest of a very select group of art collectors and lovers for a long time, the Tate Gallery essentially has a unique selling proposition only in terms of the intrinsic values of its collections. The concept of cross-cultural branding comes in contention as well as this art house has in its repertoire not just the indigenous British artifacts, but also many works of art from other cultures around Europe. In a