Tuesday, 20 August 2013
Lyn Gardner asks if traditional theatre is being usurped by ‘new-fangled tech’.
Jonathan Jones asks if the Royal Collection is the best place for our art to be kept.
Joan Bakewell comments on appropriate locations for public sculpture.
Stop using the economy as a scape-goat for poor adjustment to change, says Michael Kaiser.
Matt Lehrman explores the language used by arts institutions to label their audiences.
Thursday, 15 August 2013
Alison Pilling on what really happens inside a What Next? meeting.
Alan Davey says funded organisations do not lose their right to question and seek the truth.
Tuesday, 13 August 2013
How our aesthetic judgment is affected by exposure to art of differing quality.
Independent on Sunday editor Lisa Markwell explains her decision to cut critics at the paper
Monday, 12 August 2013
In a letter to the BBC, Alexander Robinson takes issue with the broadcaster’s coverage of opera and asks why the media can’t be a spirited advocate for the arts.
Dan Baker asks if major companies performing at the Edinburgh International Festival have more to fear from being politically provocative.
Thursday, 08 August 2013
Disability may be more visible at the Edinburgh Fringe this year, but the festival has a terrible record on access, says Matt Trueman.
Wednesday, 07 August 2013
As the National Portrait Gallery prepares to put Bob Dylan's pastel works on display, John Walsh says it's remarkable how seriously rockers take their art hobby.
Tuesday, 06 August 2013
Community-supported arts programmes are taking root in larger US cities as an organic alternative to the dominance of the commercial gallery system, explains Randy Kennedy.
Monday, 05 August 2013
For Rupert Christiansen, Edinburgh in August is now a greedy and bedazzled city, unabashedly out for cheap thrills and quick profit.
Terry Teachout on whether a city’s art collection is fair game for paying off a city’s debts.
Mark Ravenhill tells the Edinburgh Festival Fringe that the arts can flourish without state funding.
Tate Director Nicholas Serota wields too much influence over what is considered good art, argues Ruth Dudley Edwards
Thursday, 01 August 2013
In light of the London Small Theatres report, Lyn Gardner asks whether we really need sustained investment in arts infrastructure when theatre can exist in any space.
Outreach programmes like Leeds Grand and Opera North’s ‘Verve’ are among the benefits of funding large arts organisations, argues Alison Piling