6,271 research outputs found
Building audiences: Aboriginal and Torres Strait Islander arts
No full textBuilding Audiences examines the barriers to and the strategies for increasing audiences in the Aboriginal and Torres Strait Islander arts sector. This research investigates the attitudes, beliefs and behaviours of current and potential audiences.
What is in the report?
The findings reveal the key barriers facing audience attendance include:
uncertainty about how to behave at cultural events and fear of offending
lack of awareness with audiences not actively seeking information about Indigenous arts
and outdated perceptions of the sector – that it is only perceived as ‘serious or educational’.
Building Audiences also considered several strategies to build audiences for Indigenous arts:
providing skills development, advice and resourcing to Indigenous practitioners within the arts sector;
increasing representation of Indigenous artists in the main programing of arts companies by including more Indigenous people in decision making roles;
promoting relationships between Indigenous arts and non-Indigenous companies to present their work to wider audiences;
introducing children and young people to Indigenous arts through schools and extracurricular activities;
allowing audiences to feel comfortable engaging by creating accessible experiences;
implementing long-term strategies to change negative perceptions of Indigenous arts.
The project was commissioned by the Australia Council for the Arts and funding partners include Australia Council for the Arts; Faculty of Business and Law and Institute of Koorie Education, Deakin University; Melbourne Business School, The University of Melbourne
Words from the Arts Council Collection
No full text'Published on the occasion of 'Words from the Arts Council Collection', an Arts Council Collection exhibition toured by National Touring Exhibitions from the Hayward Gallery, London, for the Arts Council of England' - p.4 Catalogue designed by UNA (London)Available from British Library Document Supply Centre- DSC:m03/32223 / BLDSC - British Library Document Supply CentreSIGLEGBUnited Kingdo
Goingback Chiltoskey: Sculptor
No full textThis four-page brochure was produced to accompany a 1972 exhibition of work by Goingback Chiltoskey (1907-2000). The exhibit was held at Qualla Arts and Crafts Mutual and included 31 pieces in wood, metal, and plaster. The exhibition brochure was produced by Qualla Arts, the Indian Arts and Craft Board, and the North Carolina Arts Council. Chiltoskey was a native of Cherokee, North Carolina and a member of the Eastern Band. Chiltoskey was trained in woodworking and art at the Haskell Institute in Lawrence, Kansas and the American Indian Art Institute in Santa Fe, New Mexico. He began teaching woodworking at the Cherokee High School in 1935. He worked as a model maker for the U.S. Army during World War II and continued his craft after retiring in 1966. He was known for his many carvings of animals and people and worked primarily in native woods like walnut, cherry, apple, buckeye, and holly
Public financing of the arts in England
No full textThe paper describes the method, amount and composition of public financing of the arts and heritage services in England during the 1990s. This offers the background to a discussion of how far the rationale for government financing for such services can rely on arguments derived from welfare economics. The presence of ‘market failure’ has been widely accepted by successive governments and their advisers, but attempts to remove it have encountered the familiar problems of ensuring allocative and technical efficiency when production subsidies are the main policy instrument. Special attention is devoted to the policy dilemmas that are likely to arise in the years ahead in the performing arts, heritage and broadcasting.
Reinventing the non-profit theatre: a study of the growth of educational work in British non-profit theatres from the 1990s to the present
No full textThis thesis examines why non-profit theatres in Britain have become increasingly involved in educational work since the 1990s, from an historical and institutional perspective. With an assumption that this sector-wide organisational change has been caused by a shift in institutional environments of the arts sector, the thesis proposes an institutional framework, where three different institutional logics - artworld, market and policy - coexist and tend to dominate the institutional context at different times.
Using this theoretical framework, the thesis demonstrates that arts policy and management during the post-war period were shaped by the artworld logic. However, the two decades since 1979 have seen the environments become complicated because the institutional logics of the market and policy gained currency. Criticising the limitation of marketisation theory that has so far dominated most analyses of recent cultural policy, the thesis sheds light on the fact that active intervention by the state has replaced the arm’s length principle and the arts - especially arts education and participatory arts activities - are increasingly used for explicit social policy objectives. This phenomenon is defined as ‘politicisation’ of the arts. The rapid growth of educational work since the 1990s is conceptualised as an organisational adaptation of theatres to such environments.
The case study of four English theatres demonstrates that although the theatres have expanded education under unprecedented political pressure, they also try to implicitly resist external intervention and to maximise autonomy. This implies that politicisation is a complicated process of institutional change: whilst new rules, norms and expectations have been developed under the policy logic, the sector’s romantic view of the arts has been reformulated and old ways of working have persisted. Thus, the recent institutional change in the non-profit arts sector is better understood as an integration of different institutional logics, not as colonisation of the arts world by the market or politics. In these dynamics environments, the non-profit theatre can reinvent itself as a creative educator and social impact generator without fundamental transformation in its artistic and management sides
Letter from National Council of the Arts, Sciences and Professions to John Sloan, 1949
No full text1 leaf (single sided)Letter from National Council of the Arts, Sciences and Professions to John Sloan, 194
Letter from National Council of the Arts, Sciences and Professions to John Sloan, 1949
No full text1 leaf (single sided)Letter from National Council of the Arts, Sciences and Professions to John Sloan, 194
Letter from National Council of the Arts, Sciences and Professions INC. to John Sloan, July 27, 1949
No full text1 leaf (single sided)Letter from National Council of the Arts, Sciences and Professions INC. to John Sloan, July 27, 194
Letter from National Council of the Arts, Sciences and Professions INC. to John Sloan, July 27, 1949
No full text1 leaf (single sided)Letter from National Council of the Arts, Sciences and Professions INC. to John Sloan, July 27, 194
Inside the British Council Collection
No full textA four-minute film, produced to mark the 90th anniversary of the British Council in 2024 and to increase understanding of the British Council Collection (its 9000 works of modern and contemporary art). The film features Annebella Pollen, author of the 2024 book Art Without Frontiers: The Story of the British Council, Visual Art and a Changing World; Emma Dexter, Director of the British Council Collection; curator Hammad Nasar and artist Larry Achiampong
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