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An in-depth project examining Sadler’s Wells’ ‘customer journey’ has resulted in a much more relevant and targeted approach, which should ensure that customers stay happy and, crucially, return. Hannah Mitchell reports.
Despite decades of investment in audience development and the current enthusiasm for all things data, arts organisations still aren’t getting it, says Michael Nabarro.
Chris Denton reflects on the career that has taken him all around the world, and finally back to London’s South Bank.
How relevant is outreach marketing in a world of digital communications? Hardish Virk believes there is still a place for talking to people on the street.
Dirk vom Lehn explains how video-based research into social interactions in museum or gallery exhibitions can be used to develop new resources and inform arts marketing.
Good data can mean great cost savings as well as valuable insights. Hannah Mitchell kick starts some New Year resolutions on effective data handling.
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.