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Jonathan Manners takes us through the career steps that led him to be Chief Executive of the Academy of Ancient Music.
Mila Oshin describes a cross-artform showcase that presents the work of like-minded artists, many of whom have been ‘emerging’ for their whole careers.
Prime Studios in Windsor is a space for artists to work, interact and display their art. Dan Eastmond explains why he wants it to be different.
UK membership of the European Union gives cultural organisations access to a wide variety of funds and initiatives. Why are we not bothered? asks Julie Ward.
Moving artworks around the world is a complex and costly process. Michael Festenstein advises on how it can be done carefully and cost-effectively.
The first written evidence to be published by the Culture, Media and Sport Select Committee reveals deep divisions in the sector over the London/regions funding balance.
Kate Reynolds describes a multi-arts project for young people with autism spectrum disorder that has gone off the beaten track and now includes others without the condition.
Guidelines for cultural planning are included in new Government Planning Practice Guidance.
Ten years ago Belgrade Theatre Coventry had to find new sources of income. Joanna Reid tells how its production services subsidiary is now contributing £400,000 a year.
How did Robert Sanderson turn an overspending council-run facility into a theatre and concert hall thriving without subsidy? Erik Peterson tells the story.
David Jays explores the pressures on ballet's artistic directors who are frustrated by a narrow repertoire.
AmbITion Scotland’s Make:IT:Happen fund aims to help Scotland’s cultural sector become digitally fitter. Ashley Smith-Hammond discusses its approach and some early results.
Russ Tunney, Director of Pound Arts Trust, tells us who has inspired him most.
Employment in music and the performing and visual arts has been growing more slowly than in the rest of the creative economy, but their financial performance is forging ahead.
Black theatre company Nitro has recently opened a sister company in Sydney, Australia. Felix Cross tells how it has all been possible.
Fiona Allan charts her career path to Curve Theatre.
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.
Ten new Young Arts Entrepreneurs recently emerged from Curve’s dragon’s den to start the third year of a project for emerging young artists. Alison Moore tells the story.
A social media-led website which showcases Glasgow’s visual arts scene has taken first place in the Public Sector category at this year’s Herald Scottish Digital Business Awards.
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.