Last week’s TaitMail, prompted by the appointment of a shipping executive as director of the Royal Museums Greenwich, brings a response from Roy Clare CBE, former director of the National Maritime Museum and later CEO of the Museums, Libraries and Archives Council and then director of Auckland War Memorial Museum in New Zealand
I’m glad Nigel Hinds got an OBE in the Birthday Honours for being executive producer of 14-18 NOW - his boss, Jenny Waldman, got her CBE 18 months ago – underlining the triumph of the marathon commemoration. We haven’t always been so good at it.
No-one has better insight into the work of the arts boards than Prue Skene CBE, who as well as serving on and chairing many boards is governance associate of the Clore Leadership Programme. Last November we reported on the launch the CLP of the Cultural Governance Alliance, but she believes arts boards need a fundamental rethink, and here suggests how they could change for the better
Splashdown, 4thTest v Australia, 27thAugust 2005, by David Ashdown for The Independent
Artist film maker Amanda Loomes is finishing a work that will uncover secrets of our forest industries
The capital has been shaped by its natural waterways, as a new exhibition at the Museum of London Docklands reveals
There are two Grange opera festivals this summer, based at two different country houses in Hampshire and Surrey, both created by the conductor Wasfi Kani. Simon Tait visited the newest
Jerwood Arts’ new director, Lilli Geissendorfer, has introduced three new funds to the charity’s operations, and for one is announcing bursary beneficiaries whose careers could be shaped by them.
A new exhibition at the Foundling Museum takes a single painting of 18th century life as its subject
Clare Limb, head of dance development & learning for Déda, the Derby-based dance and outdoor performance development agency, on bringing dance and contemporary circus together in learning and participation
The Cynthia Corbett Gallery is in a former 1860s convent in a leafy corner of Wimbledon, not the kind of venue you would expect to be a nurturing place for artistic talent.
It was on a barmy early summer Sunday afternoon in 1989, exactly 30 years ago, when the Rose Theatre was saved. Simon Tait was there