How to write an exhibition press release that gets picked up

01Understanding what journalists expect

A specialist art journalist receives between twenty and fifty press releases per day during peak periods. They do not read each document in full: they scan the title, subtitle, first paragraph and attached visuals. If these elements do not capture attention within thirty seconds, the release is discarded. This reality imposes a strict editorial discipline that distinguishes the press release from the curatorial text.

The journalist looks for an angle, that is, a singular element that justifies publishing an article rather than a mere listing in a calendar. This angle may be factual: a first exhibition in France by an artist recognised abroad, a creative technique never before shown, an unprecedented dialogue between two artists of different generations. It may also be contextual: an exhibition that resonates with a societal debate, a presentation that belongs to an emerging artistic movement, a proposition that echoes a concurrent institutional exhibition.

Galerie Perrotin has developed over the years a press office that has mastered these codes perfectly. Its releases are written as potential articles, with a compelling title, an angle identified from the first paragraph and precise factual information that facilitates the journalist's work. This professional approach partly explains the significant media coverage that the gallery's exhibitions receive.

02The structure of an effective press release

An effective exhibition press release respects a proven structure that allows the journalist to find the information they need quickly. The header contains the gallery name, the words press release, the date of dispatch and the exhibition title with dates and location. The title includes the artist's name and the exhibition title, sometimes completed by a subtitle that explicates the angle.

The first paragraph is the most important. It must answer the fundamental questions of journalism in approximately one hundred words: who is exhibiting, what, where, when and why this exhibition merits attention. This paragraph must be usable as-is as an article introduction. Galerie Lelong's releases illustrate this discipline: the first paragraph clearly establishes the context, the stakes and the singularity of each exhibition.

Subsequent paragraphs develop the proposition, providing contextual elements about the artist's work, the exhibited pieces and the place of this exhibition in the artist's career or the gallery's programme. Total length should not exceed one and a half to two pages. An overly long release discourages reading and dilutes essential information in a flow of curatorial text that the journalist has neither the time nor the inclination to synthesise.

The artist biography appears at the end of the document. It should be concise, one paragraph, and prioritise career highlights: major institutional exhibitions, public collections, prizes received, significant publications. Galerie Nathalie Obadia provides synthetic biographies that highlight the most pertinent accomplishments without drowning the reader in an exhaustive listing.

03Writing a title that arouses curiosity

The press release title determines whether the document will be opened or ignored. A title reduced to the artist's name and the exhibition title, such as Jean Dupont — Interior Landscapes, provides no angle for the journalist and arouses no curiosity. A title that adds an element of information or context considerably increases the chances of being read.

Galerie Templon excels at formulating titles that combine factual information and editorial promise. A title like Jean-Michel Othoniel transforms Murano glass into sacred architecture is infinitely more effective than a simple Jean-Michel Othoniel — New Works because it gives the journalist an immediate treatment angle.

The title must remain factual and avoid superlatives. Qualifiers such as exceptional, unprecedented or major are so overused in art press releases that they have lost all credibility with journalists. A sober title that states a singular fact is more convincing than an emphatic one that promises a revelation.

04Selecting and presenting visuals

The visuals accompanying the press release are nearly as important as the text. A journalist who receives a release without visuals cannot propose an illustrated article to their editor, which considerably reduces publication chances in print or online media.

Visuals must be in high resolution, at minimum 300 dpi for print use, and in low resolution for preview within the body of the electronic release. The release must clearly state that high-resolution visuals are available on request or via a download link. A service such as WeTransfer, Dropbox or an online press kit allows files to be made available without increasing email weight.

Visual selection merits particular attention. The lead image, the one that will appear first in the journalist's article, must be visually striking, representative of the exhibition and sufficiently legible at small size to function as a thumbnail on a website or social media. Galerie Chantal Crousel selects its press visuals with care that reflects the awareness that the image is often the reader's first contact with the exhibition.

05Targeting distribution

A press release sent to a generic list of one thousand journalists has less chance of being picked up than a targeted mailing to fifty contacts selected with discernment. Press file segmentation is a condition of its effectiveness. National daily journalists, art critics at specialist magazines, cultural programme hosts on radio and television, bloggers and online influencers: each of these segments responds to different editorial logics.

The dispatch schedule must respect the constraints of each media type. Monthly magazines such as Artpress, Beaux Arts Magazine or Connaissance des Arts close four to six weeks before publication: the release must reach them at least two months before the opening. Dailies and weeklies operate on shorter cycles: two to three weeks of lead time suffice. Online media can react within days but nonetheless appreciate receiving information in advance to plan their coverage.

Follow-up is a decisive element of the process. A release sent only once is highly likely to pass unnoticed in the daily flow of inboxes. A targeted follow-up, three to five days after the initial mailing, coupled with a concrete proposal, significantly increases the chances of a response. A dealer who offers the journalist a private visit before the opening, an interview with the artist or exclusive access to unrevealed works provides added value that distinguishes the release from the mass.

06Mistakes that doom a press release

Several recurring errors doom a press release to failure. The first is curatorial jargon. A release written in abstract theoretical language, riddled with philosophical references and neologisms, may satisfy the author's ego but renders the text incomprehensible to the generalist journalist who must translate it for their readership. Clarity and simplicity are cardinal virtues.

The second error is the absence of practical information. A release that omits the gallery address, opening hours, exact exhibition dates or the press contact is an unusable release. This information must appear visibly, at the top or bottom of the document.

The third error is late dispatch. A release that reaches the journalist on opening day leaves no margin for writing an article or planning a visit. Punctuality of dispatch is a sign of professionalism that journalists notice and reward with greater attention.

The fourth error is over-promising. Announcing an event unprecedented in the history of contemporary art for a fundamentally conventional exhibition erodes the gallery's credibility with journalists who will not be caught out by its future releases. Gagosian, despite its media power, maintains a factual tone in its releases that lets journalists form their own judgement.

07Measuring impact and adjusting

After each exhibition, the dealer should measure press impact: number of articles published, nature of media that covered the exhibition, tone of articles, measurable impact on attendance or sales. This analysis, even summary, allows identification of what works and what must be improved in the communication strategy.

Press relations are a long-term investment. A journalist who has been well received, who has received reliable information and who has been able to work in good conditions will be more receptive to the gallery's future releases. This trust relationship builds exhibition after exhibition and constitutes precious intangible capital.

Artedusa complements partner galleries' press relations strategy by offering a digital showcase where exhibitions are presented to international collectors, extending each exhibition's visibility beyond traditional press coverage and reaching an audience that specialist media alone cannot attain.