Tuesday, 06 October 2015
A shortlisted artist for the Turner Prize in 1997, Christine Borland, explains why the requirement to fit the “lumbering Turner Prize machine” systematically stifles art and artists.
Lyn Gardner calls for a more in-depth discussion about big prospects in theatre, noting that initiatives like NT Live and the building of the Factory are often double edged swords.
Greg Moskovitch explains why ticket providers refuse to give customers the final price up front: it’s bad for business.
Monday, 05 October 2015
Julie McCalden and Mark Robinson report on discussions at the No Boundaries symposium on the role of arts and culture.
Nicholas Wroe talks to Peter Gelb, General Manager of New York’s Metropolitan Opera, about business models and death threats.
Friday, 02 October 2015
David Lister fails to see the logic in Rufus Norris’s scaling back of Sunday performances at the National Theatre.
Yes, says Rebecca Atkinson-Lord, the funding environment is hostile – but artists must not compromise their integrity by readily and uncritically accepting corporate donations.
In an era of falling subsidy, courting philanthropy becomes more and more necessary. Jennifer Radbourne & Kenneth Watkins list the eight qualities needed to pull in donations.
Hilary Clinton’s biggest worry in the race for the democratic presidential nomination, Bernie Sanders, becomes the first candidate to outline a vision for the arts in the US.
Wednesday, 30 September 2015
Faced with rising debt and a budget deficit, one theatre in Seattle took a novel approach to combatting austerity, says Misha Berson – it started programming more quality, large-scale shows.
Tuesday, 29 September 2015
With the appointment of new Australian Prime Minister Malcom Turnbull, the country has an opportunity to heal the damaged relationship with the arts, says David Pledger.
After the success of Olafur Eliasson's Weather Project in the Tate Modern, curators have fought hard to replicate the ‘experiential art’. But is it possible to predict engagement, asks Will Gompertz.
The National Theatre’s new Artistic Director, Rufus Norris, talks to Sarah Crompton about his first season, arts cuts, and making theatre for everyone.
Monday, 28 September 2015
Has Australia’s artist-centric arts funding model led artists to produce what benefits them, rather than what the citizens who pay for it all actually want to see? Jason Potts makes the case.
Sunday, 27 September 2015
William Powhida and Magdalena Sawon use their combined experience to deftly pull apart the art world’s ‘it’ book for the summer: Management of Art Galleries, by ‘art market expert’ Magnus Resch.
National Gallery director Gabriele Finaldi outlines his vision for the institution, saying it needs to draw more heavily on people's generosity to survive.
Tuesday, 22 September 2015
Anna Newell, of Replay Theatre Company, explains why she makes theatre for babies – even ones as young as four days old – and why the world’s first ‘Babyday’ is so important.
A Minneapolis theatre, recently on the verge of oblivion, has been revived by an innovative subscription scheme, seeing patrons pay monthly for unlimited access to shows. Euan Kerr reports.
Monday, 21 September 2015
While women dominate ballet companies, the system is simply not designed to breed female leaders, writes Sharon Basco.
Thursday, 17 September 2015
For the first time in its history, the New York Metropolitan Opera isn’t using blackface in its production of Othello; but this has divided audiences, observes Michael Cooper.