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The new Executive Director of The Dukes in Lancaster, Ivan Wadeson, looks back on his career.
Hye-Kyung Lee traces the history of arts marketing though three different phases, each posing new challenges and requiring arts marketers to rethink their aims and remits.
Lindsey Cook explains why – having already racked up eight years in marketing at mac birmingham – she couldn’t resist returning.
How did Robert Sanderson turn an overspending council-run facility into a theatre and concert hall thriving without subsidy? Erik Peterson tells the story.
Live streaming offers exciting opportunities for both small and large arts organisations in many different ways, believes Andre Portasio.
Craig Titley, Chief Executive of Future Talent, describes his career so far.
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.
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.
Laura Sweeney explains how she has progressed through her career.
Helen Palmer and Susie Stubbs describe how cultural tourism can work – and has worked in Manchester.
Dianne Greig explains how Glasgow’s galleries and museums are collaborating through the WhiteNOISE project to develop the city’s audience for the visual arts.
What does working smarter in the arts sector mean? Julie Tait describes a project exploring staffing, technology and audience data.
A new online knowledge bank combines information and guidance on bringing art and audiences together. Pam Pfrommer gives the background to the initiative.
Miles Gregory shares 15 tips on how to turn a troubled arts organisation around with the minimum stress for everyone involved.
When it opened in 2009 the cinema screen at the Grove Theatre in Dunstable saw average audiences of about 40 people, but data-led marketing has worked wonders, explains Claire McFauld.
The much maligned YTS training scheme provided Dianne Greig with her route to becoming Senior Partner at Culture Sparks
Maria Bota describes the steps on her career path that led her to become Director of Ageas Salisbury International Arts Festival
Jane Donald and Sam Stone explain how the RSNO is meeting the challenge of understanding its geographically disparate audience base
Scotland has more in common with Philadelphia than we might think. Pamela Bailey shares the fruits of US-style collaboration