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Lucy Neal welcomes François Matarasso's nuanced and passionate exploration of the growing field of participatory art.
James Doeser dissects the convictions underpinning Meyrick et al’s contempt for proliferating attempts to measure and quantify the value of the arts.
David Powell reviews Prue Skene’s candid account of her tenure as Chair of Arts Council England’s Lottery panel.
Jessica Tanghetti finds Darren Henley’s book about why investment in culture pays full of soul and passion but lacking a call to action.
Mark Robinson finds Nina Simon’s book essential reading for anyone trying to reach those disengaged from the arts.
Paul Collard finds the book about teaching artists as agents of change comprehensive and useful.
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.
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’.
Chris Bailey reviews Robert Hewison’s account of how New Labour’s golden age for the arts turned to lead.
For those who are lost, in need of stimulation, guidance or inspiration, Jo Fletcher-Cross recommends Chris Grady’s ‘Your Life In Theatre’.
Are you up to the challenge? Vicky Prior says there’s much to learn from Max Stafford-Clark’s journal from the years following the cuts.
The authors write “with passion and authority”, making this book relevant to a wider readership than the title suggests, finds Julia Ient.
Cara Courage says ‘Art Cities of the Future’ only scratches the surface of new arts locations, but is still a comprehensive compendium to the new wave.
Rosie Cooper says ‘Biennials and Beyond’ is a vital book that has landed in a world full of curators.
'The Audience Experience' is for the academic or researcher but also provides an expanded tool box of approaches to audience insight for arts professionals willing to dig, says Ivan Wadeson.
Crowdsourcing for Dummies reveals new ways of involving the public in the arts, says Nicole McNeilly.
Maggie Hampton finds immensely vibrant and powerful art in Project Art Works Anthology.
Liz Hill urges policy makers to read 'Gambling on Culture' before gambling with culture.
Hannah Hallam finds that the arts sector is already ‘standing apart’ according to this guide to alternative measures of success in business.