Eleni Duke found galleries intimidating, silent and unwelcoming, so she decided to open her own where everyone was welcome. She shares what she’s learned.
Data shows that audiences for many artforms are ageing. Anne Torreggiani calls on the arts sector to anticipate and accommodate the changing needs of younger generations.
Autism and dyslexia have long been associated with creativity, but is the arts sector doing enough to support neurodivergent artists? Susan Jones highlights some concerns and opportunities.
Cost cutting is as essential as fundraising, but it’s not often given equal consideration. Michelle Wright shares tips for arts organisations looking to reduce costs without compromising quality or long-term growth.
As the UK triggers Article 50 to start the process of leaving the European Union, AP embarks on the process of extending its coverage to embrace readers and contributors from across the whole of Europe. Liz Hill issues a call to action.
How can we make sure that authors are paid fairly in times of technological change? Luke Alcott discusses the steps that are being taken to protect their rights.
The rise of the selfie has created new problems for those managing ‘dark tourism’ sites, such as Auschwitz-Birkenau. Félicie Kertudo examines how they can promote themselves ethically.
Business support provides a lifeline that can help cultural organisations attract new partners, funders, lenders and investors. Sarah Thirtle previews a new programme designed to do just that.
Should museums shy away from talking about torture, sexuality and death with children? Sacha Coward explains why he thinks no topic should be off limits.
Can corporate sponsorship have a negative effect on a cultural organisation’s artistic value? Yuliya Shymko and Thomas Roulet share what they have learned studying the Russian theatre sector.
What factors prevent disabled or marginalised adults from participating in the arts? Susan Potter shares Creative Future’sresearch findings and the impact they have had.
Turtle Key Arts has been involved in arts projects with disabled people in many countries. Alison King reflects on the attitudes and approaches of the people she has met.
PR is about so much more than column inches, but how do you measure a campaign’s success? Amy Finlayson guides us through her straightforward approach.
Forget talk about millenials and generation Y – what does a teenager think is the best way to engage young people in the arts? Tia Duff offers her advice.
