Tuesday, 06 October 2020
"Being relevant doesn’t mean that we can no longer perform historical works, it simply demands that the format is modernised." Tom Foster reflects on the importance of relevance.
Anita Choudhrie applauds the galleries that are buying the works of early career artists in need of support and tells arts investors why now is a good time to invest.
Friday, 02 October 2020
How does it feel to be back at the theatre? Performers, employees and audiences at reopened venues describe their experiences as the (socially-distanced) magic returns.
Wednesday, 30 September 2020
The industry tremors that have accompanied the pandemic are only part of a larger trend of dissatisfaction among the sector’s employees, says Zachary Small.
Monday, 28 September 2020
Arguing that more money should be pumped into curricular arts lessons, only for them to be ruined by an exam-oriented system which isn’t designed for them, is the wrong way forward, says Ashna Ahmad.
London's theatre leaders explain why they need a plan - not false promises - to lead them into an uncertain future.
In China, "artists control everything so they can do a lot of things which in the west is controlled by different companies". Could this happen around the globe, asks Joe Sparrow.
Micro-scale cooperative developments building localised capacity are far better placed than our current clique of regularly funded organisations to tackle the uncharted territory of the ‘new arts normal’ ahead, says Susan Jones.
Wednesday, 23 September 2020
Helen Marriage, Director of Artichoke, was Creative Director of Galway 2020 European Capital of Culture until Covid-19 struck. She tells Steven Hadley "I can quote any metric that you need in relation to any of our events, but none of that tells you what it feels like."
As museums and galleries start to rely more heavlily on local audiences and domestic markets, what does this mean for their programming and marketing strategies? Eileen Kinsella and Tim Schneider explore the challenges.
Monday, 21 September 2020
Should the Royal Academy sell a single work of art that could save 150 jobs? Vanessa Thorpe reports on differences of opinion within the institution itself.
In a 'K-Shaped' recovery the experience of fortunate individuals is very different from that of the miserable many, says Alan Cantor, so target your fundraising to reflect this.
The exodus of musicians won’t be noticed by most until it is too late, says Cheryl Law, who reflects on watching the ship sink when there are no spaces left in the life boats.
Thursday, 17 September 2020
As Cameron Mackintosh declares the West End more deserving of support than subsidised theatre, Carl Woodward reminds him that theatre is about the people and the talent, not just the bricks and mortar.
Wednesday, 16 September 2020
Complaints to the regulator about a TV performance by Black dancers is further evidence of the precarious, restricted and probationary access and representation of Black and ethnically diverse creatives in the cultural public space, says Roaa Ali.
The children of well-known actors and writers may not have to struggle so hard to find a route into those professions, but they'll fail to sustain a career if it's only their name that got them there, says Alexander Larman.
With the government pledging to rescue the ‘crown jewels’, the cultural institutions that survive will be part of a hollowed-out infrastructure that is ill-fitted to deliver the social role of the arts in the public realm, says Robert Hewison.
"Those who see the Last Night of the Proms as a kind of cultural Stalingrad are full of misplaced optimism – the Left play the long game". Andrew Cadman offers a view from the Right.
Tuesday, 15 September 2020
Everson Museum of Art is selling Jackson Pollock’s 'Red Composition' to fund acquisitions of work by artists of colour, women artists, and other artists underrepresented in its collection. Cassie Packard gives the background.
Monday, 07 September 2020
Oliver Basciano believes the Southbank Centre’s problems stem from conservative management, government cuts and a ‘byzantine’ arts funding system that has rendered it “beholden to stifling commercial interests”.