Argues for stronger lobbying fo dance in the UK.
On NDAs, established in early 90's.
On shrinking contexts for dance in London.
De Marigny talks to Fiona Dick (Dance Umbrella Administrator) and Mark Harris, about the festival's audience survey.
Two articles discussing funding patterns in early 80’s
Art funding post 1992 elections.
Sets out to protect the present and the future of life in Britain from their most dangerous enemy: a creeping takeover by the past. While the real economy crumbles, a new force is taking over: the Heritage Industry, a movement dedicated to turning the British Isles into one vast open-air museum.
Addresses the work of women playwrights in Britain throughout the twentieth century.
Phillips dicusses the making of Performance Art in Ireland: A History.
This item is part of the ‘Glimpses of before: 1970s UK Performance Art’ Study Room Guide by Helena Goldwater (P2497)
In misc. folder 6.
The book examines the creative processes of eight theatre companies making devising-based performances: The People Show, Station House Opera, Shunt, The Red Room, Faulty Optic Theatre of Animation, theatre O, Gecko and Third Angel.
Published on the fifth anniversary of the BP Deepwater Horizon disaster, Artwash is an intervention into the unsavoury role of the Big Oil company’s sponsorship of the arts in Britain.
What is the quality of participation in contemporary art and performance? Fair Play: Art, Performance and Neoliberalism explores this question through the work of important contemporary artists and organizations including Marcus Coates, Phil Collins, Jeremy Deller, Michael Landy, Grayson Perry, Rachel Whiteread, Lone Twin, Punchdrunk, Tate Modern and the National Theatre.
Collection of lottery tickets bought by Scottee for ‘Double Your Money’.
This item is part of the ‘Glimpses of before: 1970s UK Performance Art’ Study Room Guide by Helena Goldwater (P2497)
A guide about the future of the small-scale visual arts sector, outlining economic and social understandings of value, measuring the value of arts organizations and sustainability.
There are lots of guides for artists on how to earn a living from art or how to raise funds to support making it, but few which help us ask what the ethical implications are of the routes we choose. In this Study Room Guide, arts, social justice and environmental group Platform has selected some key texts that they think are useful in helping to position yourself ethically with regard to financing or supporting artistic practice through business or corporate sponsorship.
Michael McMillan, Cultural Grounding, Live Art and Cultural Diversity: Action Research Project. This report was commissioned to discover how the Arts Council might widen its view of Performance or Live Art, recognise the importance of interdisciplinary work and give a place to innovatory Black performance work. Introduced by Sandy Nairne.
The Arts Council of Great Britain, 1996 North of England, UK Region of Visual Arts, Arts 2000.
The Arts Council of Great Britain, 1994 Manchester, UK City of Drama, theatre, new writing, education, integrating music and dance into theatre, discusses Manchester as a leading cultural centre in the world. Arts 2000
The Mayor’s Cultural Strategy addresses concerns facing the sector at a time of considerable economic uncertainty and rapid change, particularly with regards to government policy and investment, and considers how within this context it can maximise opportunities for the cultural life of London to flourish.
A large format and graphically bold publication that goes to the very heart of contemporary debate about the responsibility and function of the arts and of artists in society today.
Platform Study Room Guide (P1820). This item is referenced in the Dreams for an Institution Guide (P2313) and the Study Room Guide on Performance, Politics, Ethics and Human Rights by Adrien Sina (P0661)
Part of the Library of Performing Rights (LPR) (P3041).