The Art of the Press Release

Picture this: you’ve just completed a body of work that you are really proud of. A curator visits your studio and emails you with an offer of a solo exhibition. But the show is not at a traditional commercial gallery, so when it comes time to announce and promote the exhibition, the onus of writing a press release falls on you.

Or maybe you’re a fledgling curator, who’s already approached an artist to hold a show in an alternative space without a dedicated marketing team to help you with marketing or promotions. You want to highlight your program, support your artists, and establish a rapport with the press.

It has become commonplace for artists and gallerists to have to wear many hats in the contemporary art industry. Besides the actual creation of artwork or curation of the exhibition, writing and communications are arguably two of the most important skills to have.

In this post, I cover the fundamental elements of a good press release. Whether you are an artist doing self-promotion or a gallerist working on outreach for your artists, this information applies to you.

Why a Press Release?

The art world is constantly pushing boundaries, but it’s also very much tied to tradition. Press releases are a time-honored task. Not only are press releases a desirable document for the present-day promotion of exhibitions, but they become important artifacts that researchers (i.e., art historians) can comb through at a later date.

In the digital age, there are many ways to announce an exhibition, such as on social media platforms. But press releases still serve as the typical introduction, and can impact whether certain stakeholders—specifically the press, but also collectors—visit, review, and acquire work from a show.

Press releases are a great way to grab the attention of the people you need to expand your artwork’s reach. They can also be a deterrent if they are poorly written.

How to Write a Good Press Release

The main goal of writing a press release is to draw attention to the exhibition and give a crystal-clear introduction to its content and context.

1. Provide Basic Details

First, the four most essential aspects of a press release: who, what, where and when. Who are the artists on view, what types of work will be shown, where will the exhibition be held, and what’s the duration of the show (including opening dates, receptions, and any special supplemental events such as performances or lectures).

Members of the press want to know the basics, and they don’t have the time to read an entire essay. Most critics will use a press release to skim and pinpoint key details about the work that’s being described, so they can come to the exhibition prepared to do a deep dive into what intrigues them most. It’s the critic’s job to form their own opinions about the work (and believe me, they relish this task!). So remember to be informative about what it is they are going to see, and don’t come across as didactic by expounding upon the work’s conceptual underpinnings.

2. Avoid Jargon and Abstractions

Too often, I’ll read a press release that begins with an onslaught of arts jargon. The press release is not the place for verbose language and an intellectual overview of the work. This is not only distracting, but it can turn people away from wanting to learn more about the project.

Bad press releases are such a glaring issue that the arts publication Hyperallergic had a running column called “Worst. Press. Release. Ever.” You want to whet people’s appetites so that they’ll eagerly enter through the gallery doors, and speak about the show in a positive manner. A good press release can do this. But a bad press release can have the unwanted effect of giving the exhibition negative attention even before it opens.

3. Consider Your Audience

A significant question you should ask when starting on a press release is, “Who am I trying to talk to, and what do I want them to do?” When you have identified your target audience, the writing process will be more structured. You can express yourself in a tone that makes the press release accessible to those who are seeking out details.

4. Leave Them Wanting More

Trying to cover everything in a press release is antithetical to the intent of the document. Many artists I speak with prefer to have viewers interpret their work. A common refrain (especially in artist’s statements) is that their work should “speak for itself.” If that’s the case, then why do so many press releases try to pack every bit of conceptual and aesthetic detail into several paragraphs? Save the deeper conversations about the work’s meaning and its sociocultural implications for in-person conversations with the people who come to the show. The brevity of the press release should prompt these discussions without revealing too much contextual information.

5. Read It Out Loud

After you have a draft written, read it out loud. Does it make sense as you recite each word, or is it coming across as convoluted? Does the press release adequately describe the physical nature of the work presented in the exhibition, or is it a repetition of the type of generic arts jargon that sounds formulaic? Speak about the work like it is special, because it is!

6. Get a Second Opinion

Finally, it’s always helpful to get a second opinion from an outside source. Preferably someone who hasn’t seen your latest work so that they can evaluate whether you are doing a good job describing it without the bias of familiarity. An outside reader can assist you by approaching your work through a critical lens.