From issue 283
Margareta Pagano talks arts fundraising with the Serpentine’s Julia Peyton-Jones.
The Scottish Trades Union Congress is campaigning for all theatre workers in the country’s publicly funded venues to be paid the living wage of £7.85 an hour.
Vying for the title Museum of the Year 2015 and a £100k prize are the recently renovated Whitworth art gallery in Manchester, Belfast’s The MAC, London’s Imperial War Museum, The...
From issue 283
With Monaco’s Les Ballets de Monte-Carlo set to come to the UK, Mark Monahan explains how the world’s second smallest country is able to house an internationally-renowned ballet troupe.
From issue 283
Two hundred successful women from the arts gathered in Tate Modern to inspire schoolgirls and spearhead the next generation of artists, writers and directors.
From issue 283
Two young theatre makers dissect the industry’s “class problem” and tell Matt Trueman what the arts sector should be doing about it.
From issue 283
News
The arts centre, which has equal numbers of male and female managers, has been included in ‘The Times Top 50 Employers for Women 2015’.
From issue 283
Within a month of Director PENELOPE CURTIS announcing that she will leave Tate Britain, CHRIS DERCON is following suit and resigning as Director of Tate Modern. He will stand down in 2017, after six...
In a letter to the Guardian, leading arts figures and academics have warned that current immigration rules make it difficult for international arts students to remain and work in the UK after...
From issue 283
News
Almost £1m is being directed towards partnership initiatives that will generate new sources of funding linked to improved cultural education outcomes for young people.
From issue 283
The new Director of The Henry Moore Foundation will be GODFREY WORSDALE. Currently Director of BALTIC, he has previously led Southampton City Art Gallery and the Middlesbrough Institute of Modern Art...
From issue 283
FACT (Foundation for Art & Creative Technology) has appointed JO WRIGHT as its new Executive Director. He steps down after four years as Head of Creative Industries for the Welsh Government.
From issue 283
Colchester Arts Centre’s Director ANTHONY ROBERTS has been appointed as Interim Director at Firstsite, following the departure of MATTHEW ROWE.
From issue 283
British conductor STUART STRATFORD is the new Music Director for Scottish Opera.
From issue 283
Luca Silvestrini’s Protein has appointed SOPHIE ROSE as Producer and MELANIE PRECIOUS as Participation Producer. Rose has previously worked for Gandini Juggling and the National Centre for...
From issue 283
News
A new report calls on the Government to help develop more creative clusters outside London and the South East, to give the whole population the chance to share in the success of the booming creative industries.
From issue 283
The Founder and Principal of Dartington College of Arts, Peter Cox, has died at the age of 97.
From issue 283
Feature
A researcher-in-residence scheme is proving that high-quality research skills can benefit the cultural and creative industries, says Evelyn Wilson.
From issue 283
Feature
Are vision, mission and values at the heart of good cultural fundraising? Michelle Wright explains why arts organisations need to be clear about their fundamental purpose.
A collaboration between Hull, UK City of Culture 2017, and the Danish city of Aarhus, which will be European Capital of Culture that same year, will create opportunities for artists to create work...
From issue 283
Feature
Fred Weijgertse explores the global art market’s record year and points to the growth in exhibitions, galleries and collectors in China.
From issue 283
Feature
Colin Tweedy calls for business sponsorship of the arts to be nurtured again, particularly outside London where private, philanthropic donations cannot be relied on.
ENO has committed to keeping a full-time orchestra and chorus, and will be price-cutting 60,000 tickets across the season, making 500 seats available for £20 or less at every performance.
From issue 283
Feature
When Making Music learnt that it was no longer a National Portfolio Organisation, it was forced to rethink how it operated. Barbara Eifler describes a difficult six months.
The Park, which was awarded the Art Fund Prize for Museum of the Year last year, attracted over 400,000 visitors - the highest number in its 37-year history.