Major audience development initiatives may be inspiring, but most arts organisations can learn more from what the smaller players are doing. Sara Lock shares a few examples.
Home Live Art’s interactive literary salon event sold out quickly, but when she met the audience Mimi Banks was surprised. She reflects on the difficulties of marketing interactive live art.
Sheffield Theatres was part of a regional consortium of box offices until it decided its audience development activities would benefit from going it alone. Libby Penn describes the painless uncoupling.
A 100-metre high public artwork isn’t always the answer. Peter McCaughey reflects on why he took a more dispersed approach to an art strategy for a housing project in inner Glasgow.
An In Harmony programme has embedded Royal Liverpool Philharmonic in its local community. Susanne Burns reveals how the orchestra helps shape Everton’s sense of place.
A new box office system has built a stronger link between London’s Dominion Theatre and its ticket agents, who can now sell directly from the live inventory. Libby Penn reports.
Providing opportunities to volunteer online is helping Birmingham’s museums to engage with more and more people. Rebecca Fletcher explains how they do it.
A third of frontline staff in Brighton’s museums have now taken part in a placement programme that is boosting their skills. Helen Graham explains how it works.
The invitation to bring a disused library in Southwark back to life as a pop-up space for artists and community groups came with many challenges as well as opportunities, Rebecca Manson Jones reveals.
When Exeter Corn Exchange had to become financially self-sufficient, its busier programme required a fully rounded box office management system. Libby Penn reports.
