A decline in visitor numbers, staff strikes and budget cuts – Jessica Morgan faces many challenges as she takes on the biggest role in the British arts scene

A lack of clear vision, low morale, dwindling popularity and financial shortfalls – this may sound like a description of the previous Labour government, but these are also criticisms levelled at the UK’s most powerful arts institution, Tate. Maria Balshaw’s tenure as the first female director of Tate – comprising Tate Modern, Tate Britain, Tate Liverpool and Tate St Ives – lasted nine years and saw as many culture secretaries. One of Sir Keir Starmer’s last acts as prime minister was to approve the appointment of her successor, Jessica Morgan, a former curator at Tate and head of the Dia Art Foundation in New York.

With record-breaking Frida Kahlo and Tracey Emin shows currently at Tate Modern, suggestions that Ms Morgan is inheriting an institution in a state of “existential crisis” seem exaggerated. Tate Britain, often overshadowed by its more fashionable younger sister, pulled in crowds for its Turner & Constable and Lee Miller exhibitions. These blockbusters in the past year also rebut accusations that Ms Balshaw focused on little-known artists instead of bankable stars. Her commitment to diversifying the collection will surely be taken up by Ms Morgan, who also has a strong track record in promoting marginalised artists. Ms Balshaw is leaving on a high.

Government says proposed levy for international tourists is part of initiative to improve arts funding

Ministers are considering charging international tourists to access permanent collections at national museums as part of an initiative to improve arts funding.

The government said there was a need for long-term options to fund the struggling arts sector in its response to a review of Arts Council England, which distributes public funding to the arts. Among the options cited was a hotel levy, a policy being consulted on.

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.

The president has vowed to kill off ‘woke’ in his second term in office, and the venerable cultural institution a few blocks from the White House is in his sights

By Charlotte Higgins. Read by Evelyn Miller

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.

The president has vowed to kill off ‘woke’ in his second term in office, and the venerable cultural institution a few blocks from the White House is in his sights

On 30 May last year, Kim Sajet was working in her office in the grandly porticoed National Portrait Gallery in Washington DC. The gallery is one of the most important branches of the Smithsonian Institution, the complex of national museums that, for almost 200 years, has told the story of the nation. The director’s suite, large enough to host a small party, has a grandeur befitting the museum’s role as the keeper of portraits of the United States’ most significant historical figures. Sajet was working beneath the gaze of artworks from the collection, including a striking 1952 painting of Mary Mills, a military-uniformed, African American nurse, and a bronze head of jazz and blues singer Ethel Waters.

It seemed like an ordinary Friday. Until, that is, an anxious colleague came in to tell Sajet that the president of the United States had personally denounced her on social media. “Upon the request and recommendation of many people I am herby [sic] terminating the employment of Kim Sajet as Director of the National Portrait Gallery,” Donald Trump had posted on Truth Social. According to the post, Sajet was “a highly partisan person” and a “strong supporter” of diversity and inclusion programmes, which by an executive order on his inauguration day, 20 January, he had eradicated from federal agencies. “Her replacement will be named shortly,” continued the message. “Thank you for your attention to this matter!”