Good reads

A small, US ballet company has gained a national and international following for its edgy work, writes Lauren Wingenroth. What's the secret? Acclimating themselves to risk.

Theatre is a dialogue, and yet many theatres don't support that dialogue with their audiences. Maddy Costa questions the idea of the 'reasonable audience' and the model of spectatorship it presents.

Manchester Art Gallery took action when it emerged that just 8.5% of its permanent paintings collection were by women, writes Josh Sandiford. With the rate of female artists' representation across other UK museums estimated at 10.8%, how can civic institutions address questions about power and privilege? 

A viral image of Jacob Rees-Mogg reclining on a bench in the House of Commons evokes an acknowledged motif in art, writes Hannah Jane Parkinson. She compares the politician's now-infamous slouch to some of art history's greatest examples.

Performance art is growing in popularity, but is it too ephemeral to become a commercial success? Scott Reyburn looks at efforts to sell the art form.

The economic imperatives - and economic successes - of the so-called creative industries are harming artists, writes Oli Mould. Here he argues for a "drastic turnaround" in our political conception of creative sectors.

Ofsted wants schools to build childrens' cultural capital, leading to criticisms of "white middle class paternalism", writes Warwick Mansell. What does the term actually mean and can it be taught?

The recreation of a daring work by Marina Abramovic is making headlines months before it arrives in London. Martin Bailey asks what the exibition can teach us about the longevity of performance art.

The reconstruction of the National Museum of Brazil will begin this month, a year after the institution was ravaged by fire. Its boss says the new building will exhibit the country's spirit of independence - and a surprising number of recovered artefacts, Tanner West writes.

Art handlers worry that their employers are compromising their health and safety for the sake of expediency. With no benefits, health insurance or paid holiday, Zachary Small asks: why enter the profession at all?

A new gallery for a small group of Australian artists offers them a way to "leave their legacy", its founder says. Stephanie Convery looks at the process, practice and philosophy behind the country's first gallery featuring only female artists.

German arts organisations are coming under pressure from nationalist politicians – but they are pushing back with satirical creative work and protest actions, writes James Imam.

Ever more venues are cropping up in the UK capital as property developers latch onto their potential to boost an area’s profile, reports Vincent Dowd.

Unconventional sports like breakdancing are breaking into the Olympics. Andrew Keh looks at what is lost and gained when an underground art form becomes part of a mainstream cultural event.

England's cathedrals are starting to offer "fairground frivolities" as a way of encouraging visitors - and their donations, Erasmus writes. What limits exist on how a place of prayer can be used?

American orchestras are like a canary in a coal mine - "so dependent on public support that we lose oxygen first", the chair of one international organisation tells Lottie Elizabeth Johnson. What can British orchestras learn from their struggle?

For creative professions, social media capital can be just as, or more important, than ability and experience, Angelica Frey writes. She considers the mundane, all-consuming reality of creating "aspirational content".

Ten years of National Theatre Live has allowed more people outside of London to see theatrical shows and changed the landscape of theatre production worldwide, writes Ruthie Fierberg. She looks at how the model works.