From issue 270
Superact has announced ROBIN OSTERLEY as its new Interim Chair. Osterley spent 16 years as Chief Executive of Making Music and the National Federation of Music Societies, and was also Chair of the...
From issue 270
ANDY BURDEN is the new Director of The Natural Theatre Company, appointed after a short period as its Development Director.
From issue 270
The Design Museum has announced the appointment of ZDENĚK BAKALA, a Czech-born businessman, investor and philanthropist, as a new member of its Board.
From issue 270
ISOBEL COLCHESTER has been appointed as Chief Operations Officer at Poet in the City.
From issue 270
JENNY NIVEN is now Portfolio Manager for Literature, Publishing and Languages at Creative Scotland. Prior to joining Creative Scotland, she was Associate Director at Melbourne’s Wheeler Centre...
From issue 270
LHOSA DALY has been appointed as Deputy Director of Spike Island. A trained lawyer, Daly was appointed as Head of Development at the Turner Contemporary in 2011 and has served on the Spike Island...
From issue 270
RICHIE KESTER will be joining AKA, the international arts and entertainment agency, as Head of UK Touring and Venues. He has worked as a freelance touring marketing consultant for the past ten years...
From issue 270
News
A new survey examining revenue models in the contemporary performance sector aims to provide information to help organisations make more from philanthropy and commercial enterprise.
From issue 270
In cities that have experienced the impact of a vibrant arts culture, no one is having an argument about the economic value of the arts, says Benjamin Barber.
From issue 270
News
End of an era for England’s arts funding as ACE drops additionality requirements and prepares to support core funded organisations from both Lottery and grant in aid revenues.
From issue 270
Terry Teachout on why live theatre is in trouble with on-demand mentality threatening theatrical intimacy.
Complaints have been raised over a conflict of interest at Tate, with the gallery being accused of “blatant favouritism” as Trustee Tomma Abts’ work is displayed in a new exhibition...
From issue 270
Peter Aspden on where the arts lie in a world of hyper-materialism.
Suffolk Coastal District Council has faced criticism after spending £30k to maintain the Spa Pavilion theatre in Felixstowe in preparation for a future owner. Opponents of the closure say the...
From issue 270
Halifax Festival has announced the appointment of JENNY HARRIS as its new Director for 2014. She has over 10 years experience working in arts and festival settings as both a Director and...
From issue 270
HEATHER PERKINS is leaving her post as Groups and Audience Development Officer at Nottingham Playhouse to become the Marketing Officer at The Yard Theatre in Hackney.
From issue 270
SIMON THOMPSON has left his role as Press Manager at the Lyric Hammersmith to join the press office at the Science Museum.
From issue 270
NICOLA HAIGH is The Audience Agency’s new Business Services Coordinator, who joins from The Forge where she coordinated programmes and operations. EMILY SONGHURST joins The Audience Connect...
From issue 270
ANNIE WARBURTON is now Creative Programmes Director at The Crafts Council. She was most recently Head of Partnerships at Creative Skillset.
From issue 270
Feature
Following its nomination as UK City of Culture 2017, Jon Flinn discusses why Hull is going to be a worthy winner.
From issue 270
GEOFFREY SHINDLER OBE, a Consultant with DWF LLP Solicitors, has been appointed as Chairman of The Keyboard Charitable Trust. Shindler replaces outgoing Chairman and co-founder JOHN LEECH. SARAH...
From issue 270
Feargus O'Sullivan on historic London theatres which weren’t built to last.
From issue 270
In the social contract of performance, what happens when someone coughs? asks Corinna da Fonseca-Wollheim.
From issue 270
David Osa Amadasun suggests why black people don’t go to galleries and poses some ‘awkward questions’ surrounding cultural value, taste and minority groups.
From issue 270
Michael White on country opera: “not always comfortable, but curiously English.”