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Three years ago Bristol’s museum and gallery shops were running without a plan and losing money, but now they are on track to increase revenue by 60%. Zak Mensah tells the story.
Many museums and galleries struggle to manage the costs of storing and conserving their collections. Emma Sumner introduces two innovative organisations that are making their collections pay their own way.
Gallery and theatre shops can learn a lot from high-street retailers. Corin Birchall shares his tips.
Since opening its museum shop two years ago, the Sir John Soane Museum has seen it go from strength to strength, developing a valuable new income stream. Xanthe Arvanitakis explains how.
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.
Lucas Stewart reports on the difficulties involved in ‘Hidden Words, Hidden Worlds’, a British Council project in Burma seeking to develop ethnic minority language literature.
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.
David Alston recognises that Wales’ physical attractions pull in most tourists but believes that exciting and innovative cultural work is well worth discovering too.
Linda Weston tells how the William Morris Gallery has recorded increased shop sales since its recent refurbishment.
Beckie Smith tells how a charity shop is contributing to funding Tewkesbury’s theatre, The Roses.
Schools around the world have been invited to tune into a live science lesson taking place at the Royal Albert Hall. Lucy Noble tells the story.
Catering has the potential to provide a healthy income stream and enhance the wider visitor experience, but it needs to be well executed, warns Paul Smith
Laurence Miller tells how Nimax Theatres has been working with Enta to improve its sales to the elusive visitor market
Science-based projects can reach out to new audiences who wouldn’t normally engage with the arts. Claire Cowell describes a project that did just that
Licensing your art for commercial use is not for everyone, but Mainda Kiwelu believes that, used properly, it can open up revenue streams and new audiences
David Haworth describes Forest Forge’s experience and knowledge of working with the elderly and people with terminal illness.