Artists from across Europe describe what it’s like to work in their country of origin – from the almost desperate situation for some freelance artists in Spain to the generous support on offer in Arctic Norway.
Ovalhouse’s FiRST BiTES programme ensures that it takes the risks necessary for creating diverse and experimental theatre, explains Owen Calvert-Lyons.
As well as being a studio space for independent dancers and choreographers, Glasgow's The Work Room is also an empowering artist-led support network, says Anita Clark.
Effectively monetising creative work ensures that artists can continue to do what they love. Ros Gilman offers advice on pricing, marketing and legal issues.
Former Watershed Chief Executive Dick Penny stressed he is “more excited than ever” about working in Bristol as he leaves his role of 20 years and heads a new Watershed venture aimed at creating growth in the city.
With artist workspaces under threat from funding cuts, increases in business rates and property development schemes, a new initiative aims to extend their lifespan. Karen Watson explains.
Two new reports say that the festivals also generate international recognition for Scotland’s arts scene and provide new opportunities for Scottish creatives.
No one in need should put any faith in this toothless ‘regulator’, which has just spent two years squirming out of its responsibility to regulate, writes Christy Romer.
Opera Holland Park’s Young Artists scheme, which gives participants the chance to be part of the main season, has become an important source of talent for the industry. Imogen van Santvoort explains how it works.
Tax relief can be a lifeline for many arts organisations, so why are so many smaller theatre companies and independent producers missing out, asks Clara Giraud.
Many artists find it difficult to sustain their practice early on in their careers. Nicola Sim shares the findings of her research into how arts organisations and funders can best support them.
Exeter’s Spacex has marked its demise by publishing a satirical conversation around the imbalance of power between those in- and outside ACE’s regularly funded network.
Has music become too pigeon-holed into distinct genres? Tony Haynes asks how we can truly promote cultural diversity when the opportunities for creativity are so restricted.
