The price of everything and the value of nothing?
Last week I went to two art exhibitions. Paul Graham at the Whitechapel and George Shaw at the Baltic. Looking at Graham’s photos…
Posts
How putting Neil McGregor in a dress could save the arts
Picture the kind of digital messiah the arts really needs. What would he or she look like? Are they minister shaped? No. Are they…
Looking outside the arts
Amid all the furore over the current arts funding crisis, there has been a lot of talk of the arts embracing wider corporate busin…
Can the Place Prize get it right?
It seems the Place Prize just can’t get it right. In 2008, then Theatre Director John Ashford named the young choreographer…
Bristol-based youth work
I’ve been busy getting my feet under the table at Travelling Light Theatre Company, producing projects with young Bristolian…
NY/LON Threads
Having recently spent a week in New York – taking part in the TS Eliot US/UK Exchange organised by Old Vic New Voices &ndash…
Engaging a website audience with music.
I know that the term ‘social networks’ is perhaps one of the most blogged about in the entire history of everything in…
Striking a balance
FROM Mike Layward, Artistic Director, DASH In your article ‘ACE grapples with equality’ (p1, AP236), I would challenge…
A word of caution
A month has passed since Arts Council England announced the 695 organisations that will make up its new National Portfolio from Ap…
A very sad day
I took a very sad trip around Leicester Haymarket a few weeks ago. Once it was thriving. Once upon a time you could see interestin…
The need to mix fundraising basics with technology
When I am not working on technology issues, I am struggling to work out how to raise funds for arts organisations which cover both…
Raising the stakes of live performance
Is it a bit odd that watching someone opening a champagne bottle in Simon Stephens’ Wastwater at the Royal Court last weeken…
Can art save the world?
Since the 1960s the eco art movement has concerned itself with environmental degradation, the role of the human in this and has an…
Developing your Fundraising Strategy
The recent cuts have meant that many organisations have either recognised they need to fundraise or to increase their reliance on…
Great art for everyone?
In your article about the latest Taking Part figures (AP235, pp1–2) you say the seven English audience agencies “faile…
Shift Happens…
…well it does doesn’t it? Or it certainly did last week. Shift hit the fan on March 30th and as a result we now have…
The first cut is the deepest
The cuts are rapidly becoming synonymous with an unhealthy cultural state, although perhaps we should question how healthy our cul…
Taking responsibility
Who has responsibility for customer service in your organisation? If you produce your own product it may seem straightforward but,…
The Traditional, The Risky, The Unpaid & The Ugly: life after redundancy
In the wake of the NPO funding announcement last Wednesday there will be organisations up and down the country saying goodbye to s…
Protecting the playwright
As a producer who works largely in new writing, I’m always fascinated to observe the process a writer undertakes – bet…
Curation vs. education
Practically all public art Galleries have some kind of “education” or “engagement” arm to them, specifical…
Goals and Glory: lessons from the manager’s bench?
Last Friday I went to see Cheek by Jowl’s stunning, Russian company, ‘Tempest’ at the Barbican. Then, on Saturday afte…
Standards in community dance
I was recently invited to observe a dance lesson taking place as part of a community education programme. Although the artists kne…
Psychological realism in theatre
Take a look at the SPILL Festival programme which has just stormed the Barbican and you’ll see a number of exciting British…
