Tuesday, 11 July 2017
As senior Labour Party politician Harriet Harman takes up a role as Chair of Trinity Laban, she tells Vanessa Thorpe why an arts education is going to be “the most useful thing in the future”.
Monday, 10 July 2017
Music and Design and Technology have been cut at a school in Kent. It’s a trend that could easily continue across other schools, writes Alice Wilde.
Don’t waste time with a mobile app for your arts organisation, argues Colleen Dilenschneider – the data shows they’re rarely used and barely increase visitor satisfaction.
Friday, 07 July 2017
The head of an arts organisation isn’t driven by vision, or their critics, or audiences. They answer only to the board – and only by recognising this can there by progress, writes Anne Midgette.
Hosting or accepting sponsorship from a company is not a morally neutral act, and institutions like the Science Museum that host international arms fairs must change their fundraising policy, writes Andrew Smith.
Thursday, 06 July 2017
(IN FRENCH) How can the government make culture more inclusive, and how can new technologies help engage people with disabilities? Two French cultural managers weigh in.
Wednesday, 05 July 2017
At a conference in California, US arts critics and academics analysed what arts engagement is – and whether it’s being properly measured. Joe Mathews, Reed Johnson and Chris Jones feed back from the event.
If new Tate Director Maria Balshaw is to succeed in her intention to radically transform the gallery’s audience profile, she will need to mimic her predecessor Nicholas Serota and ‘grasp the nettle’, writes Will Gompertz.
The economic pressures facing artists both starting and consolidating their careers have long-term consequences for art itself, writes Bojana Janković.
Since Tony Blair’s election, the creative industries have been the favourite of the Government and the media. But given a chronic lack of social mobility and diversity in the sector, who has really benefitted from Cool Britannia’s legacy, ask Tom Campbell and Homa Khaleeli.
Monday, 03 July 2017
The UK’s withdrawal from the EU risks a generation of creative talent being defined by insularity and stunted by the delusion that native genius is enough to see off the opposition, writes Nicholas Hytner.
Thursday, 29 June 2017
American artist Jeff Koons’ promise to donate a major sculpture to Paris to honour the victims of recent terror attacks is billed as a coup – but will it benefit the artist more than the country, asks Rachel Donadio.
The most common forms of cultural activity in Australia are listening to music, engaging online and reading books, but funding in the country doesn’t reflect this, argues Ben Eltham.
Dropping out of Arts Council England’s national portfolio can seem like the end of the world, but organisations like Red Ladder – which re-joins the portfolio after a three-year hiatus – show that losing core funding can help improve financial resilience.
Mortal intelligence has been rendered redundant in Arts Council decision making, and the challenge for new Chair Sir Nicholas Serota is to overturn the anti-art revolution, writes Norman Lebrecht.
Arts Council England’s decision to cut three dance development agencies from its national portfolio is unacceptable – particularly when there’s no accompanying strategy or explanation, writes Chantal Guevara.
Friday, 23 June 2017
Artists can’t be absolved from their role in property speculation and skyrocketing rents. Heather M. O'Brien, Christina Sanchez Juarez and Betty Marin offer a guide to challenging gentrification.
The Centro Botín in Santander, designed by ‘starchitect’ Renzo Piano, aims to be as invisible as possible from the city centre and to serve the local community as its primary mission.
(IN DUTCH) Do tourists from Spain or Canada spend more time in Dutch cultural institutions? And why do so few Belgians and Germans visit the country’s museums? Thomas van Huut and Gretha Pama analyse attendance data.
Thursday, 22 June 2017
Could a retired diplomat’s plan to use the sports marketing model to fund dance really work, asks Lisa Traiger.