From issue 282
Feature
With little known about how small arts organisations can most effectively use crowdfunding, Oonagh Murphy decided to find out through leading a mentoring and development programme.
From issue 282
Feature
REP’s Children, a project offering free theatre tickets for babies and their families for ten years, was so successful first time round that it had to be repeated, says Steve Ball.
From issue 282
Arts People
Linden Rowley interviews Christian Markandu about the priorities for his commissioning service and the opportunities for arts and cultural organisations of all sizes.
From issue 282
As public funding falls to 6.2% of all income in the US not-for-profit arts sector, Ellen Rosewall reflects on what would be an ideal balance between earned income and other sources of revenue.
From issue 282
Digital reproductions of art may be valuable in themselves, but are no replacement for a live experience of the real thing, says Holland Cotter.
From issue 282
It’s time to have an honest conversation about how artist development does and doesn’t work. Paul Warwick kicks things off.
From issue 282
A recent exhibition at the Museo del Prado might just represent the most sophisticated effort yet to engage blind and visually impaired people with painting, says Raphael Minder.
The Prehistoric Society has issued a statement saying that making researchers pay to see private collections risks threatening the health of artefact studies – and potentially the health of...
From issue 282
Feature
Matt Baker explains how young people in the Chester area are being encouraged to get involved with theatre, dance and music, through a programme working closely with schools.
From issue 282
News
A review of Arts Council England’s Catalyst programme reveals a shift in attitudes towards fundraising but delivers little evidence of impact on the bottom line.
From issue 282
News
Venues that provide a training ground and experience for up-and-coming musicians are not up to standard and need investment to bring them up to the levels expected by audiences, according to the Music Venue Trust.
From issue 282
Nick Curtis accompanies candidate Patrick Brill, aka Bob and Roberta Smith, on a walk around Michael Gove's Bagshot constituency.
A debate at the House of Commons has drawn attention to growing fears that arts organisations are self-censoring subversive material to secure funding and avoid protests. Leading figures describe the...
The new company formed to save the Spa has secured the financial backing needed to refurbish the building, but will be working with local theatre groups and community ventures to put the theatre on a...
The Norfolk and Norwich Festival is seeking a major sponsor as the Council prepares to cut its grant from £83k to £8k.
The British Museum, the National Gallery and the Southbank Centre were the three most visited cultural "attractions" in the UK last year. The Library of Birmingham, ranked in tenth place,...
From issue 282
Case study
A new strand to Theatre Royal Winchester’s learning and participation work sees young people developing their skills as theatre critics, says Carl Woodward.
Plymouth Arts Centre is to close its restaurant as part of a restructuring plan that aims to compensate for a 27% drop in Arts Council funding.
The only target for arts cuts in Wiltshire is Salisbury Arts Centre, which will lose its entire £89k County Council funding, while budgets at Salisbury Playhouse and Salisbury International...
Firefighters managed to save large parts of the building, including its octagonal dome, and salvaged valuable art work. An online appeal had raised more than £27,000 in the first 24 hours.
The Life Changes Trust has given £320k over three years to Edinburgh’s Festival and King’s Theatres for work that will make the venues more accessible to people with dementia.
Members of amateur theatre companies performing in the RSC’s tour of ‘A Midsummer's Night's Dream: A Play for the Nation’ will receive minimum wage for the hours they spend...
From issue 282
News
The outcomes of the biggest and longest running arts education intervention in the world have been documented in a report describing its impact and offering suggestions for future research.
From issue 282
After five years at the helm of Iniva, the Institute of International Visual Arts, TESSA JACKSON OBE is leaving to pursue independent curatorial and writing projects.
From issue 282
Following the resignation of HENRIETTE GÖTZ, English National Opera has appointed CRESSIDA POLLACK of management consultants McKinsey to the role of Interim Chief Executive.