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Institutional favouritism lies at the heart of Arts Council England’s funding framework, and ACE does itself no favours by trying to defend the indefensible, says Liz Hill.
David Stevenson deplores the way that a subjective decision to grant public money to a commercial company is being dressed up as the evidence-based decision of an objective funding system.
Allegations that Liverpool's Everyman & Playhouse Theatre are failing to embrace the local community couldn't be further from the mark, says Rebecca Ross-Williams.
Adrian Moule welcomes a report that encourages the UK's arts councils to offer loans.
How and why do rural touring companies thrive? Sue Robinson reviews the latest contribution from Francois Matarasso, a writer who has been helping her to answer similar questions for 20 years.
As the Government prepares to make the English Baccalaureate compulsory in the GCSE curriculum – with arts subjects victims of the “trade-off” – Liz Hill comes clean about her own inadequate education.
Anna B. Sexton reads Mel Evans’ Artwash: Big Oil and the Arts, and says it’s time to change the way we think.
Should textual information in galleries be made easier to understand? Jennifer Locke reviews Dany Louise’s contribution to the debate around ‘artspeak’.
Despite decades of investment in audience development and the current enthusiasm for all things data, arts organisations still aren’t getting it, says Michael Nabarro.
Bev Adams accuses funding assessors of ‘project snobbery’ and favouring venue-based organisations over artists working in the community.