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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
Pavilion Dance harnessed a booming summer tourist market to help make a place for itself on an emerging cultural scene. Jo O’Connell tells all
Scotland has more in common with Philadelphia than we might think. Pamela Bailey shares the fruits of US-style collaboration
Roger Tomlinson takes a snapshot of the wide range of options available these days to arts organisations that sell tickets
The Elgiva has found that IRIS’s ticketing and marketing systems enable the venue to enhance its technological capabilities in line with changing customer needs
Colston Hall has tested out Purple Seven’s Balanced Database approach to target marketing – and the results are very promising. Sarah Robertson explains
A lot of people in theatres and concert halls talk about the importance of Customer Relationship Management, but most are not really doing it and seem reluctant to start. Helen Dunnett encourages them to get going