The closing of a cluster of leading creative venues has led to dismay and intensified fears the hubs that fostered Glasgow’s celebrated arts scene are disappearing

By the time Daisy Mulholland arrived, the locks had already been changed. The Glaswegian artist, had been organising the launch event for her new art shop at the Centre for Contemporary Arts (CCA) when she got an email telling her the Sauchiehall Street venue – and cornerstone of the city’s art scene since it was founded as the Third Eye Centre in 1974 – was closing with immediate effect.

“The event was the following day: we had 250 tickets sold, we’d done so many rehearsals, and inside there were lighting rigs, performers’ equipment, shop stock. It was truly heartbreaking,” she says.

Ministers urged to abandon plans to let tech firms use work of novelists, artists and writers without permission

The UK’s creative industries must not be sacrificed in the pursuit of speculative gains in AI technology, a House of Lords committee has warned, as the government prepares to reveal the economic cost of proposals to change copyright rules.

A report by peers has urged ministers to develop a licensing regime for the use of creative works in AI products and abandon proposals to let tech firms use the work of novelists, artists, writers and journalists without permission.

When piloted, initiative that provided €325 a week to eligible artists recouped more than its net cost, study shows

Ireland is creating a scheme that will give artists a weekly income in the hope of reducing their need for alternative work and boosting their creativity.

The Basic Income for the Arts (BIA) initiative will provide €325 (£283) a week to 2,000 eligible artists based in the Republic of Ireland in three-year cycles.

Under Trump, the world-class centre for performing arts is one of many US cultural institutions changing beyond recognition. Will others buckle?

A year ago – just a year ago – the Kennedy Center in Washington DC was a world-class centre for the performing arts. It had a resident opera company, respected artistic teams, and a run of the acclaimed musical Hamilton to look forward to. It had a bipartisan board that upheld the dignity of an organisation that, since it was conceived of in the mid-20th century, had been treated with courtesy and supported by governments of both stripes.

How quickly things unravel. Donald Trump inserted himself as chair of the organisation soon after his 20 January inauguration, dispatched the hugely experienced executive director, and installed his unfortunate loyalist Richard Grenell to run it. This former ambassador to Germany might have wished for better things; at any rate, entirely inexperienced in the arts, he seems utterly out of his depth. Things have unravelled. Artists have departed the centre in droves. Hamilton pulled out. So have audiences. In November, Francesca Zambello, the artistic director of the Washington National Opera, told me that ticket sales had tanked for the opera. Analysis by the Washington Post showed it was the same pattern across the centre.