Sentence examples for creative institutions from inspiring English sources

Some of the less creative institutions will tack on monthly fees again and hope customers don't flee.

Beyond the Beat offers a new model of artistic success based on innovating creative institutions to benefit the society at large.

Creative industries bring £8.8billion an hour to Britain, says DCMS, and this is down to the success of big British creative institutions such as James Bond and the Olympic legacy.

His targets are "the social climbers of the arts": arts administrators at creative institutions – journals, festivals, funding bodies and hubs – working in that most notorious cosa nostra, "the Melbourne literati mafia".

Presentations by Susan Schwartzenberg and Brad McCrea, while each representing very different institutions or organizations, further highlighted how government agencies must work with local artists, creative institutions, and local communities in this process of reimagining urban space.

As consolidation, austerity and fundamental structural change continue to define the strategic direction of Britain's creative institutions we ask what are - and more importantly - what should be, the government's and the market's solutions to ensuring prosperity and provision in UK media.

Dan says he worked unpaid at the BBC and at another creative institution.

When Michael Govan was chosen by this board in 1994 to be the next director of Dia, its future as a financially stable and creative institution had been well secured and the Dia Collection had become internationally recognized.

'City Ballet is a creative institution so strongly molded by the Balanchine esthetic that no single dancer‐not even a Russian superstar- could hope to make a dent in its artistic profile.' chine repertory.

It is, as some people refuse to believe, creative institution so strongly molded by the Balanchine esthetic that no single dancer — not even a Russian superstar - could hope to make a dent in its artistic profile.

In the judgment of Jed Perl, a writer for The New Republic, Lowry's main achievement has been "to stifle debate about the transformation of what was once a chaotically creative institution into a well-oiled business-model museum," a museum whose interests are now fixed on "the needs of the tourists and the trustees".