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Kevin Smith asks whether we’re comfortable with companies like BP being associated with some of the most prestigious arts institutions in the country.
Ivan Wadeson sees patience and planning as necessary prerequisites to campaigning for public support.
Eleonora Belfiore shares her thoughts on the public value of culture.
Dan Eastmond explains why he walked out of the What Next? conference.
Nick Williams says the language of the arts sector is turning audiences off.
Juliet Brain sees What Next as a chance to put aside creative egos and work for the common good.
Leila Jancovich says let’s not pretend ‘we’re all in it together’
Laura Drane says What Next? can’t be a single issue campaign, as we'll never agree on what that issue is.
Keith Motson likens What Next? to an Alcoholics Anonymous meeting for arts professionals.
Bethany Rex asks how do we start a dialogue with those firmly not in the room?
Chrissie Tiller on Thatcher's legacy for business models in the arts.
Liz Hill worries that the dash for cash to plug the arts funding gap will undermine the work of artists and organisations that specialise in social impact work.
Liz Hill welcomes news of renewed efforts to measure the impact of the arts in more valid ways.
David Lan clarifies 'What Next?'
In an edited extract from the provocation essay ‘Ditching The Renaissance’, Dan Eastmond says it’ s time for the arts to stop hiding behind the notion of benevolent failure.
Tom Copley wants to find new homes for small-scale cutting edge theatre in London.
An open dialogue between arts practitioners, public funders and the public is vital in developing the arts for the benefit of the wider community, says Liz Hill.
In the second of three edited extracts from 'Fireworks', his book of provocation essays, Dan Eastmond quantifies a disconnect between the public arts sector and the population.
As the arts are mollycoddled by protective funding and propped up by the instinct of stability, will the output of our creative institutions fall further behind the mind of the age? Dan Eastmond makes the case.
Anne Bonnar reflects on an experimental approach to attracting audiences that paid off at the Citizens Theatre.