Artists from across Europe describe what it’s like to work in their country of origin – from the almost desperate situation for some freelance artists in Spain to the generous support on offer in Arctic Norway.
A group of funders including the Paul Hamlyn Foundation and the Esmée Fairbairn Foundation are to test a set of key principles to make grant reporting a more “meaningful and mutually beneficial experience”.
Bristol Old Vic, England’s oldest theatre, is now also open as a visitor attraction and heritage destination. Emma Stenning explains why - and how - the venue embarked on this new venture.
It is right to celebrate those local authorities committed to funding culture, but long-term sustainability may depend on developing entirely new approaches, argues Gary Topp.
Arts organisations in Bath have consistently leveraged three times as much financial support from other sources as they have been granted by the local council, new data reveals.
The budget allocation for 'Creative Scotland and other arts' includes £10m for Screen Scotland and a £6.6m boost for the regularly funded portfolio to compensate for reduced lottery income.
Arts Council England has guaranteed funding at the same level for the venue, which says the financial strain of maintaining a rep company took the organisation “towards a tipping point from which we now need to step back”.
The consultation, which will guide spending for the period 2019-24, includes proposals for introducing three- to five-year funding periods for grants from the National Lottery.
Justin Madders made the comments in relation to a tribunal hearing concerning the employment rights of art educators at the National Gallery, which could set a precedent for the public sector.
Should trustees on arts boards always be expected to give a donation, as is commonly the case in the US? Michelle Wright weighs up the pros and cons of this thorny issue.
The tendency for people from higher social grades to be more likely to attend arts events is down to a mismatch between current funding priorities and the public’s taste, rather than any lack of demand, an evidence review suggests.
Tate, the British Museum and Imperial War Museums have all recently completed drives to gain support for large-scale capital work, but economic changes also played a part in the decline.
