Sonia Boyce has been chosen to represent Britain at next year’s Venice Biennale. Boyce is 58 and a lauded member of the art establishment: an OBE, a Royal Academician, a UAL professor. She’s been chosen, not a moment too soon, for her innovative art-making that uses performance, drawing and photography which has been stunning us for 25 years.
Milton Court is a rare venue combining performance, concert-going and teaching. Simon Tait finds a unique artistic partnership there between an arts centre and its conservatoire neighbour
AI PROFILE Kumiko Mendl, artistic director of Yellow Earth Theatre
Michael McGregor, director, Wordsworth Trust/Wordsworth Grasmere
Punch Line, Brighton, July 1992, by Roger Bamber
Alan Sparrow introduces this month’s image
By Patrick Kelly
“Sustainability” is one of those yawn-inducing words that has suffered through overuse, especially in those tick box council reports that have become a too regular feature of local government.
Simon Tait on the remarkable Cleveland Museum of Art and the lessons it has for our museums and galleries
The “collision economy” is the name the organisers of the REMIX Summit give to the fastest growing business sector in Britain, worth £100bn a year to the UK: the creative industries.
The Beatles, May 19, 1967, by John Downing
Alan Sparrow introduces this month’s image
Patrick McCrae, founder and CEO of Artiq
Despite the feeble acknowledgement of the importance of culture in the Tory manifesto and the no more encouraging Queen’s Speech yesterday, Boris Johnson is clearly taking the arts seriously. Almost his first act since the general election has been to appoint a culture secretary.
Contrary to popular thought, Charles Dickens didn’t invent Christmas with A Christmas Carol, writes Simon Tait.
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