Julie Aldridge takes the bait thrown down by Trevor O’Donnell’s dismissal of arts marketing as ‘amateur’ and in response urges closer collaboration between artistic leaders and arts marketers.
What sets the 'cultural digerati' apart from the rest? Hasan Bakhshi reflects on the findings of the ‘Digital Culture’ research into how arts and cultural organisations are using digital technology.
The Royal Opera House has been sharpening its commercial agenda over recent years. Alastair Roberts describes how it has developed its brand licensing and media activities.
Peter Stark, Christopher Gordon and David Powell provide a personal reflection on reactions to Rebalancing Our Cultural Capital, their analysis of England’s regional funding landscape.
A Charity Commission report recently revealed that the average trustee is white, male and aged 57. To coincide with Trustees’ Week, Neal Green urges everyone to find out more about sitting on an arts board.
Yvonne Farquharson believes that academic research and evaluation are essential to demonstrate the clinical impact and cost-effectiveness of arts in health interventions.
How much has the arts marketing role changed in the last twenty years? Strikingly, says Sarah Chambers, who examines what is now required to market culture.
New approaches are refreshing our ideas about what constitutes art and science, and new technologies are enabling the blurred boundaries between the two to be broken down, according to Dick Penny and Verity McIntosh.
Doncaster’s new arts venue opened in September - a response to negative comments about the town’s history of low engagement with the arts. Kully Thiarai pauses to reflect on the overwhelming welcome that the theatre has received.
The Pensions Regulator recognises that the arts and entertainment industry faces particular challenges with pensions auto-enrolment but urges the industry to act now.
