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An assessment and accreditation scheme is encouraging arts and cultural events and venues to reduce their environmental impact.
If arts organisations continue to decrease emissions at the current rate, they will be 46% lower in 2019/20 than in 2012/13, a report by Julie’s Bicycle has found.
The Arts Impact Fund offers loans based on artistic as well as social impacts. Seva Phillips explains the aims and benefits of its pilot investment scheme.
A haunting concert recently combined music and birdsong to highlight the plight of endangered birds. Artist Lucy Stevens shares her tips for using art to communicate environmental issues.
In despair at the lack of an adequate plan for tackling climate change, Peter Gingold urges the arts sector to ask the difficult questions.
A year before Tate is due to renew its sponsorship with BP, Platform London is curating a free, completely unauthorised festival inside Tate Modern.
Low-cost attempts to reduce environmental impact have paid dividends for arts organisations, although investment will be needed to achieve further reductions.
The Sustainability in Production Alliance has outlined ten social, environmental and economic sustainability goals for the UK’s live production sector to achieve within the next ten years.
A new guide by Julie’s Bicycle provides advice on integrating environmental sustainability into capital project funding bids.
David Carrington explains what arts organisations seeking commercial support can learn from the recent Tate/BP sponsorship freedom of information case.
Anna B. Sexton reads Mel Evans’ Artwash: Big Oil and the Arts, and says it’s time to change the way we think.
WMC’s sustainable business model has prompted the award, which goes only to organisations recognised as having achieved the very highest levels of excellence.
ACE-funded organisations saved £1.25m in energy costs last year and the number of organisations engaged with environmental sustainability is growing.
Julie’s Bicycle and BOP Consulting have conducted a survey on leadership and environmental sustainability. Alison Tickell summarises the findings and plans the next steps.
As the first arts venue to be awarded a 3* Industry Green rating, the Lyric Hammersmith is a model of best practice. Kim M Grant describes the work of its green team.
Laura Coleman explains why she went ahead and set up an arts organisation to explore environmental art, despite the advice of many people.
New reporting on environmental impact has generated baseline figures, but progress is being hindered by lack of data.
Leah Black explains how Spring Fling, originally a visual arts and craft event, has attracted new visitors by embracing nature and the environment.
Gus Christie tells the story of Glyndebourne's wind turbine, the first to be commissioned by an arts organisation.
Ben Challis shares some tips on how festivals can reduce their environmental impact.