How to Brand a Cultural Institution in 2025?
In the cacophony of the contemporary visual landscape, cultural institutions face the tough challenge of being clearly identified and remembered. The only way to do this is to get radical. Base Partner Thierry Brunfaut explains how.
Museums, private art foundations, galleries, auction houses, theaters, operas, or festivals—we at Base Design have been creating visual identities for small, medium, large, and extra-large cultural institutions in Europe, the United States, Asia, and Australia for more than 25 years now, obsessed with one fundamental concept: differentiation—the very essence of branding. Such a significant track record leads people to frequently ask us about what's to come in the branding sphere in such a specific sector. What's coming is more complex than ever, but has a straightforward solution. And it has a lot to do with how our human brains operate.
The 'cultural sector' is not a monolith. It's a diverse landscape of propositions, viewpoints, disciplines, and content. While cultural institutions may not sell goods or services, they struggle with a common challenge shared by commercial brands: the ability to carve out a distinct identity and make their voice heard amidst the noisy contemporary visual landscape.
What differentiates cultural brands from commercial ones is that most are public institutions and, therefore, subject to bureaucracy or politics, often slowing down the decision-making process. Contrastingly, their leaders are even more distinct: charismatic individuals with solid egos and visions who are usually well-equipped to judge visual content, versed in communication, and always focused on outsmarting their direct competitors. In short, the directors of cultural institutions are a breed apart.
These directors are unique, creative minds in action; leaders open to the challenge. Yet, they all face a similar, critical question: How can they ensure the long-term remembrance of their cultural brand in the minds of their audiences?
A good logo, dynamic guidelines, and creative communications and campaigns may help, but are they enough? Would people recognize a specific institution because of the beautiful elasticity of its graphic system? Probably not.
Let's think for a minute about the potential audience we want to attract to a museum or a theater. The cultural offer is practically infinite, displayed in the streets or popping on their screens. On top of that, the competitive scope isn’t limited to other museums across town; they also include entertainment businesses like Netflix or Disney. Consequently, the public faces countless cultural and entertainment propositions, promoted on a daily basis. Beyond the critical question of choice (What to see? When? Why? Is it for me?) lies another central point for every cultural institution: when the public thinks about a cultural institution, what mental image do they associate with it?
I am far from being a scientist, but this is where cognitive science can help us. Eminent minds like Herbert A. Simon and Daniel Kahneman, both Nobel Laureates in Economics and pioneers in cognitive psychology, have intensively researched the human brain's capacity to process information and make decisions.
On average, we have about 35,000 decisions to make each day. These differ in difficulty and importance. But they all hit you daily. If you had to process all these decisions consciously, your brain would crash! As a result, the human brain simplifies information to function efficiently due to its limited capacity to process large amounts of data.
Simplification reduces cognitive load, helps the mind to recognize patterns, and enables quick decision-making. By breaking down complexity, the brain avoids information overload, reduces stress, and maintains psychological well-being, allowing it to navigate the world more effectively.
With that in mind, and given the oversaturation of noise and chaos in today's visual and social landscape, cultural institutions face a critical challenge: they must radicalize the "mental image" they project via simplification, in order to be identified and recognized in the long run.
We can outline five potential approaches to achieve this. While some may seem obvious, the key lies in navigating one or more of them with deliberate intention and intensity to ensure effectiveness.
1. The Building as a Brand: Memorable Architecture.
This one is evident. A striking, memorable building can serve as the face of the cultural institution. Think of Guggenheim Bilbao, Centre Pompidou Paris, or New York's New Museum; a clear image pops into your head. Architectural distinctiveness can create a lasting impression, making the building synonymous with the institution's identity and DNA.
2. The Art Defines the Brand: Curated Collections.
The type of art displayed shapes the institution's identity and audience perception. The Louvre in Paris has created a mental image of the guardian of Western art history, attracting millions of visitors annually. MoMA's perception is crystal clear: it's a playground for modern and contemporary art lovers where the avant-garde feels right at home. This clarity didn't happen by accident – it results from a carefully cultivated brand image that aligns MoMA's visual identity, programming, and community engagement with its mission to be a leader in modern art. For cultural institutions, curating consistent content (whether a permanent collection or temporary exhibition, niche or specific) that aligns with their mission and values reinforces their brand and draws a dedicated audience.
3. A Unique Experience Makes the Brand: Visitor Expectations.
The anticipation of your visitors shapes their perception long before they enter the door. A museum's programming, exhibitions, and curation must then live up to these expectations. For example, visitors to the Tate Modern in London expect a cutting-edge, contemporary art experience. This outlook is reinforced by the museum's calendar, expositions, and even the industrial design of its building. Leaders should thus intentionally craft and communicate what visitors can expect and follow up to ensure that their experience aligns with the institution's identity and promise.
4. People as Brand Symbols: Associating with Iconic Figures.
A specific person, artist, or … brand can become inseparable from a cultural institution's identity. Institutions could consider associating themselves with influential figures—artists, curators, or patrons—who embody the institution's values and vision, thus enhancing their brand through these personal connections. Think Musée Picasso, Getty Museum, or Fondazione Prada – all prominent examples in this category. We associate these places with the legendary individuals they’re named after, along with their unmistakable vision.
5. The Brand's Personality: Attitude and Programming
This fifth has risen in the last few years in the cultural sector and can be summarized in one word: personality. Indeed, an institution's attitude or specific programming can distinguish it from others and solidify its place in the public's mind. These cultural institutions don’t aim to please everyone: they cultivate a clear and consistent attitude, approach, or difference that resonates with their target audience, making their brand unforgettable. The Museum of Old and New Art (MONA) in Hobart, Australia, is an excellent example. It is renowned for its provocative exhibitions and irreverent attitude toward traditional museum norms. This distinctive personality has become MONA's brand, appealing to a demographic that seeks the unconventional. Funny, stiff, unpredictable, classy, dark … Any possible adjective describing an institution's personality can work as long as it is embraced with consistency and passion.
So why is defining this strict "mental image" so important? It gives your audience something to latch onto—a reason to care, visit, and support. A clear perception isn't just a logo or a catchy tagline; it's the emotional and intellectual footprint your institution leaves in the minds of its audience. It makes someone choose your museum, festival, or theater over the many other options out there.
We know from experience that most directors of cultural institutions are reluctant to reduce their institution's mental image to one concept, as they are "much more than that." And they certainly are. The key is to simplify, not to get simplistic. As cognitive science shows us, our decisions and memories are based on shortcuts, so each cultural institution has to define its own. Today, this "Perceptual Identity" has overpowered the impact of visual identity.
At Base, we call it the "Power of One": a conceptual, customized story-telling approach we create for every cultural institution (or brand, for that matter) we collaborate with that hones in on one central idea. Everything aims to reinforce this idea and inform the brand from a 360° standpoint: from the programming to the art on display, from how the visitor is welcomed to the logo's shape, and from the tone of voice to the website, press releases, newsletters, or seasonal campaigns.
In a world of fleeting attention, a well-defined (and simple!) mental image is crucial for today's cultural institutions. It's the difference between being just another museum and being the museum. It ensures that your place in the cultural landscape is not just seen but remembered.
Every cultural institution is an ever-changing kaleidoscope of new ideas and propositions, but remember, its way of setting its place in the minds of its audiences must always be a no-brainer.
