The GLI Arts MBA journey is packed with innovative approaches, cross-sector insights, and diverse collaborations with arts organizations on the front lines. To make a snapshot of these dynamic resources available to the broader community, the Industry Insights blog highlights diverse perspectives from the GLI classroom and beyond, sharing practical tools and frameworks, inspiring cases, and spotlighting inventive projects and ideas.
Every society has an edge of what is sayable. There are subjects people know exist but struggle to name in public. There
Every society has an edge of what is sayable. There are subjects people know exist but struggle to name in
In creative sectors, conformity rarely presents itself as conformity. More often, it appears as good judgment. A museum selects the
Lindsey Beauboeuf is not your typical doctor. Drawing on her Haitian roots, she approaches healthcare as a creative practice: one
Rose McGowan became a defining face of turn-of-the-millennium pop culture through Scream, Charmed, and a series of unforgettable screen roles.
Cultural organizations often assume that if the work is strong enough, audiences will understand why it matters. A collection has
Jim Henson’s legacy is usually described through characters: Kermit, Miss Piggy, Big Bird, Cookie Monster, Fozzie Bear, and Gonzo. But
Creative work is often judged by what people can see. A film. A song. A performance. A festival. A building.
For much of the twentieth century, cultural influence flowed through institutions. Museums, theatres, publishing houses, and media organizations acted as
1. Your work hits first through color, scale, and animal presence. How did that visual language become yours? My visual
Cultural organizations often explain demand in terms of quality. A strong exhibition. A prestigious artist. A powerful performance. A respected
Creative fields prize originality. Festivals promote bold experimentation. Artists are encouraged to break conventions and explore unfamiliar territory. Yet a
