Arts People
Founder and Creative Director of FutureEverything, DREW HEMMENT, has been appointed to the post of Chancellor’s Fellow at University of Edinburgh, where he will help to found the Edinburgh...
Arts People
The Jerwood Charitable Foundation has appointed NATHALIE TEITLER as Project Manager of Jerwood Compton Poetry Fellowships. Director of The Complete Works, the national development programme that...
Arts People
The new General Director at Welsh National Opera will be AIDAN LANG, who will take on the role in July next year. Currently General Director of Seattle Opera, and prior to that General Director of...
Arts People
KATHERINE WATSON, Director of the European Cultural Foundation, will retire at the end of this year, after twelve years of service. Her role will be taken on by ANDRÉ WILKENS, who worked previously...
News
Michelle Walker said she welcomed ongoing dialogue with residents as she takes on responsibility for culture in a project that will see the creation of 20,000 new homes.
News
The public’s growing preference for scratch cards and instant win games is eroding the proportion of sales that go to good causes.
News
Abid Hussain urged his organisation to employ more deaf and disabled people in decision-making roles.
News
Employees, freelance workers, artists and business owner-managers are being encouraged to contribute to ArtsPay, the first annual survey of earnings.
As Battersea Arts Centre re-opens its Grand Hall, which burned down three years ago, Artistic Director David Jubb reflects on how arts centres could change to empower local citizens.
News
The Centre for Contemporary Arts has been closed since fire ravaged the Art School in mid-June and has not yet had a reopening date confirmed. The centre says the “indefinite closure”...
News
The comments were made by Rosie Millard, the new Chief Executive of the Prince’s charity, Children and the Arts, at an event to discuss challenges for creativity in schools.
From issue 316
Feature
Ovalhouse’s FiRST BiTES programme ensures that it takes the risks necessary for creating diverse and experimental theatre, explains Owen Calvert-Lyons.
Feature
How can an arts organisation be sure it is working with schools that represent the community? Lucie Fitton and Ashleigh Hibbins suggest combining arts, population and schools data.
Clarissa Sebag-Montefiore meets arts leaders across Australia and assesses public funding for the arts in the country, asking whether the current focus on risk-aversion is a recipe for mediocrity.
Lisa Benjes explains how musicians in Berlin used a concert to fight against – and ultimately dismantle – ‘inhuman’ plans to use atonal music to drive homeless people from the local public rail network.
News
Accusations that the museum was plagued by underfunding from successive governments followed news that almost 90% of the museum’s collection may have been lost, potentially including the 12,000...
News
Construction has begun on the £10m project, which will update the theatre’s backstage facilities and increase accessibility. The theatre plans to reopen in early 2020.
News
Creative Scotland has enlisted the support of the Plain English Campaign, following accusations from a Scottish parliamentary committee that the national funder had struggled to deliver its functions...
Case study
As well as being a studio space for independent dancers and choreographers, Glasgow's The Work Room is also an empowering artist-led support network, says Anita Clark.
Feature
Effectively monetising creative work ensures that artists can continue to do what they love. Ros Gilman offers advice on pricing, marketing and legal issues.
News
The Renaissance Nude will open next March with an equal number of female and male nudes on display, and a gender-balanced team of scholars working on the exhibition.
News
The scheme for the Leeds venue, which was granted planning permission last month, will include a new education centre and improved facilities for artists.
Briana Pegado warns of an ‘intentional cultural cleansing’ of protected characteristics in the arts, with the sector remaining fundamentally unrepresentative of wider society.
In 1968, the UK abolished a 1737 law requiring all plays to be licensed by the Government. Zoe Paskett talks to some of the capital’s artistic directors about the impact of this change on theatre.
The National Portrait Gallery’s ticketed exhibitions have been poorly attended despite critical acclaim, suggesting that the public is less committed to contemporary art than the critics, writes Ben Luke.