Culture
Business 10
Sydney
21-22 November 2019

Register today

About

Culture Business returns to Sydney 21-22 November 2019.

Join 200 international experts to tackle the big questions facing arts fundraisers today, focusing on philanthropy, corporate sponsorship, organisational structure and new revenue streams.

Download the conference presentation.


Theme: The Art of Fundraising

Culture Business tackles the issues facing arts fundraisers today.

How does one prospect, cultivate and retain a corporate sponsor? How can a crisis be transformed into an opportunity? What are the steps involved in designing, adopting and sticking to an effective long-term fundraising strategy? How can we best engage with our boards and committees? What type of development staffing structure is most conducive to success in fundraising?

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Schedule

Over 2 days, we will gather 200+ arts professionals in Sydney to address the big questions facing fundraising and development professionals in the arts today.

Culture Business Sydney features:
• Keynotes and plenary sessions from leading fundraisers and donors
• Panel discussions exploring the biggest challenges and opportunities for the sector
• Case studies offering in-depth learning from key successes – and failures
• Group and one-to-one learning opportunities

Please, note that the programme is subject to change, and will be updated continuously up to the conference.

  • The Australian National Maritime Museum will be the main host of the conference.

    Australian National Maritime Museum
    2 Murray St, Sydney NSW 2000, Australia

  • The Private Sector Support Survey is designed to inform policy and advocacy for investment in the arts across Australia. This report introduces a new rigour and depth to the question of what investment is raised, and what is behind the successes, and how the challenges can be overcome. It gives us a window into how CEO’s and fundraisers are thinking, feeling and behaving in their mission to raise private investment. It offers arts and cultural organisations a guide to the most successful fundraising strategies, and benchmarks to see how their fundraising earnings and costs compare with others.

  • The Sydney Modern Project will transform the Art Gallery of NSW into an art museum with two buildings connected by a public art garden. By almost doubling space for the display of art, the project will deliver a rich and diverse range of experiences for all visitors. The Gallery’s new building, designed by internationally renowned architects, SANAA, brings together art and architecture in one of the world’s most beautiful cultural precincts.

    The expansion has attracted unprecedented philanthropic support with the Capital Campaign surpassing its target. Together with government funding, it is the largest public-private partnership of its kind to date in the Australian arts. The project‘s completion in 2022 will be the culmination of the Gallery’s 150th anniversary celebrations.

  • How does a small organisation foster support for a program of high ambition? How do you build the trust and shared sense of purpose needed to take a community of supporters on a journey into new artistic territory? And how do you do it when your artistic environment is more famous for politicians and kangaroos than the arts, with a development department of zero?

    The 10-day Canberra International Music Festival is today a beacon of innovative programming, commissioning bold new music and making space for diverse musicians – First Nations artists, medievalists and futurists alike – to create on the concert hall stage. Founded in 1994 by a community association dedicated to creating performance opportunities for young musicians, the Festival is today a small professional organisation. It has grown beyond its founders’ dreams by rallying a dedicated community of supporters around a sense of shared purpose and adventure.

  • The Royal Danish Theater is the biggest cultural institution in Denmark and includes both Ballet, Opera, Symphony Orchestra and Drama (in three different houses in Copenhagen).

    In this case study, Magnus Restofte will focus on the process by making a pop up tour with classical music around Denmark, filming it and then broadcasting a web documentary. All funded and made in corporation with Audi Denmark and with focus on exchanging and reaching new audiences – for both parties. We will see the tools and methods used. Talk about both failures and success on the path for using data in the funding work and communication strategies.

  • The Old Vic is an independent not-for-profit theatre, a world leader in creativity and entertainment. It is one of London’s oldest producing theatres and has been at the centre of its local and theatrical community for over 200 years. Despite this, we operate without any regular government subsidy.

    In order to break even with an annual turnover of £13m, we need to raise £4m each year. If ticket sales drop below projected levels, we have no safety net at all.  With the Theatre’s history of 13 bankruptcies, it’s a business model not without risk, so in June 2018, we invited an agency to conduct an independent review of the Development function. The review took into account the fundraising achievements to date, the structure required to successfully deliver a phased capital campaign by 2022, and how to effectively deliver the longerterm fundraising ambition of the theatre for the future.

    17 months on, I’m here to update on the changes as we embark on a £24m capital and revenue campaign over the next 3 years.

  • In 2015 Auckland Art Gallery embarked on transitioning its Friends organization into a Gallery owned and operated membership program. I was hired to develop, implement and manage this process.

    On my first day at the Gallery I asked about the budget and was told there is none. No, this was not a joke.
    Membership launched in 02/16 with 750+ Members, by the end of 06/18 we’d grown to 7,100+.

    In a 2017 staff survey my colleagues named membership when asked “what are you most proud of”.
    I’d like to share my experience in leading this project, growing membership, managing change, establishing commercial partnerships and discuss how one department can start a cultural shift within an organization

  • Amalia will share her experience in working with organisations, both large and small, on prospect segmentation models that have successfully helped prioritise efforts and deliver results. Taking inspiration from these case studies, we’ll turn the mirror to your organisation in a short workshop that will ask you to consider what you know about your current and prospective donors, and provide the tools to shape that information into a segmentation structure that works.

  • Fiona Menzies, CEO of Creative Partnerships Australia will interview Terry Wu about his Philanthropic activity and his perception of Philanthropy in Australia. They will discuss the expectations of Philanthropists and how the cultural sector should engage with them.

  • In 2023 Denmark opens the door to a new national museum of natural history. The
    new museum is set in the Botanical Garden in central Copenhagen, and will the
    biggest museum project in Denmark for more than 50 years.

    Behind this success lies all most 10 years of fundraising, political work and strategic
    communication to bring private foundations, the Danish Government and University of
    Copenhagen together in the realization of 180 million Euros for the new museum and
    galleries. And unlike all most all other cultural projects in Denmark private foundations
    holds more than 60% of the financing of the new museum.

    In this talk Rikke Moerch, who is one of the leading forces behind the fundraising for
    the new museum, will give us a walkthrough of the process, share insights of the
    strategy and do’s and don’ts when you want to raise support an ambitious national
    project.

  • Building strong cultural and business connections across Asia is a strategic priority for the Melbourne Symphony Orchestra.

    From the Board level to multi-year partnerships with leading cultural organisations and artists in China, MSO’s annual East meets West program and broad engagement with Australia’s Chinese community has developed significantly over several years.

    This case study looks at the importance of building relevant relationships within the Chinese community in order to attract and engage sponsors and donors, and how to connect meaningfully for long term outcomes and success.

  • The almost 900-year-old Notre Dame is not only a religious symbol, but also a cultural, civic and national emblem for the French. In April of this year, the Cathedral caught fire and the apocalyptic images went viral around the world. According to the Chief Architect, there is still a risk of the historic ceiling arches collapsing.

    Despite the social unrest stemming from the so-called Gilets Jaunes movement, France has collected almost 1 billion Euros in donations within 48 hours.

    Learnings from on a worldwide fundraising campaign: How fundraisers have developed quick innovative tools to welcome corporate and individual donations? What has been the timeframe? How has the French government responded to the call? Beyond collecting money, what responsibility do fundraisers have when potential divisions can easily be sown in the face of a national tragedy?

  • In 2020, Science Gallery Melbourne will come to life through the generosity and leadership of a $4million gift from philanthropists Peter and Ruth McMullin.

    Part of a global network of galleries, dedicated to building the next generation of creative problem solvers, Science Gallery Melbourne is a landmark project for The University of Melbourne – an Australian University for the world.

    In this presentation Peter and Rose will explore the notion of impact. What does it mean to develop a gallery for young people, why the Mc Mullins chose to make such a significant gift to The Univeristy of Melbourne and Science Gallery Melbourne and how Peter and Rose hope to impact the pathways of young adults.


    A passion for making a differece and inspiring young people runs deep for both Peter and Ruth Mc Mullin. Parallel and entwined in a successful business life, Peter has consistently championed young people through his career. He was a Founding Director of the Small Change Foundation – now known as the Foundation for Young Australians – an organization dedicated to fostering investment and championing young people from all backgrounds.

    Likewise, Ruth’s career and community work has put young people at its heart.  Ruth has served on the Board of Arena Theatre – the award-winning Victorian theatre company that produces theatre with and for, young adults and has worked in the areas of young people and families in the areas of child protection, mental health and education.


  • he Australian National Maritime Museum will be the main host of the conference.

    Australian National Maritime Museum
    2 Murray St, Sydney NSW 2000, Australia

  • Our mistakes and failures are gifts, gems, guideposts in our learning and growth as people. Failures, mistakes, screw-ups and shortcomings need to be embraced because they not only make us uniquely who we are, but they also teach us powerful lessons.

    This event is about sharing these lessons, together. We are looking to hear about your screw-ups an your lessons learned at our F*!$ Up Celebration.


  • How we communicate determines how we are perceived. Does our physical presence teach people that we are confident, trustworthy and credible? Or do we communicate a story of insecurity, uncertainty and unease? In this session, discover how the embodiment of grounded balance, positive body language, purposeful gestures and an appropriate level of energy greatly enhances physical presence. Remember, you are the author and editor of your physical story. Awareness of physical presence will give you the freedom and power to write a new and more compelling story of physical confidence, ease, flexibility and power.

  • Carclew Creative Consultants is a social enterprise model based on a successful UK program, which aims to support young people into sustainable careers within creative industries and generate income through sale of services. The UK program supported 93% of participants into careers and became income generating in its 4th year after a seed funded period. The SA program launched in February 2019, led by myself (I also ran the UK program).

    How can charities / NFPs use seed funding to establish income generation models, meeting their KPIs and contributing towards their bottom line? With discussion around the place of Impact Investment, can Social Enterprise provide a more achievable model for NFPs with the added benefit of financial surplus flowing back into the org instead of out to private investors?

    This program was an unfunded idea at last year’s Culture Business, but it’s now established and meeting early targets. Could this be an achievable model for smaller NFPs to rethink their income generation and make the most of their human assets?

  • In 2015 BHP and the Art Gallery of South Australia (AGSA) announced an inaugural partnership to present TARNANTHI, a festival celebrating Aboriginal and Torres Strait Islander art. Following the success of the 2015 partnership a further five-year commitment was announced. This new partnership includes a $17.54M investment from BHP to AGSA to present TARNANTHI annually from 2017 through to 2021.

    In the partnership’s first year, BHP and AGSA was awarded the SA Premier’s Community Excellence Award in Mining and Energy for setting and achieving a high standard for leadership in and commitment to social responsibility initiatives.

    Emily Perry, Head of Corporate Affairs, BHP Olympic Dam, Australia and  Gillian Mercer, Head of Development Art Gallery of South Australia will present in a ‘Learning Session’ for fund seekers talking to the partnership between BHP and AGSA to present TARNANTHI.

    The presentation will include an overview of the partnership approach, key deliverables talking to test cases from the 2015, 2017 and 2018 events as well as learnings.


  • The Art Gallery of Western Australia (AGWA) and Healthway, Act-Belong-Commit sponsorship commenced in 2016. Healthway are a government organisation who provide sponsorship funding to sporting, community and arts organisations. The sponsorship directs support to AGWA’s Annual high school exhibition, Pulse Perspectives, as well as supporting ongoing youth focused activities, programs and workshops.  A key AGWA commitment is to incorporate positive mental health messages and themes within the communication strategies for the exhibition, and the broader activities that the sponsorship supports.

    Time, energy, getting it wrong, getting it right, have all been part of the evolution of this sponsorship. Josephine will talk about her approach, the challenges she faced and how she developed understanding and trust in this partnership.

  • Music Match is a collaboration between service providers and schools, and (vitally) mobilises private giving and philanthropy.

    National standardised testing of Australian children consistently shows disadvantaged students falling well below educational expectations. Meanwhile a mounting body of research provides compelling evidence for the positive impact of music education on brain development.

    Private philanthropy had been filling the funding gap in some schools, paying for the delivery of specialist music programs. Fuelled by the desire to see less duplication and more impactful investments they provided the inspiration for Music Match.

    Music Match was conceived to trial a model of collaboration that can be replicated and transferred to various social causes.

  • Red Cross Calling has been an important community fundraising campaign for 70 years, but in 2019 it was redesigned from scratch using customer experience research and human centred design principles.

    Belinda will take us through the journey of transformation that Red Cross has been on over the past two and a half years. The change of direction has put customer at the centre.

    How they did it:

    – Restructured to break down silos

    – Changed to strength-based communications

    – Focussed on diversification, enabling new product development and innovating within existing programs

    At a time when nonprofits are becoming ever more focused on being donor-centric, this is an example of how one charity has innovated using research and feedback from its supporters, donors and other stakeholders.

  • With over $457 million and $390 million distributed by Private (PAF) and Public Ancillary Funds (PuAF) respectively each year, there is considerable opportunity for non-profits to seek funding.

    Both Fund types are required to distribute a certain amount of their assets each year, with many distributing much more. Both exist to distribute money, but how does one engage with one?

    It helps to treat these Funds like people, and the journey like building a relationship, which requires significant research and a good long-term strategy. A subscription to the Complete Guide to Australia’s Private Ancillary Funds contains over 10 years of research into PAFs, and more recently: PuAFs.

  • As Theodore Roosevelt accurately declared, it’s not the critic who counts, but he or she who strives to do the deeds; to “Give it a go” as we say in Australia. In this self-discovery workshop, we’ll look at what your own daring greatly looks like and what could become possible if you did. We’ll also look at what’s holding you back. Participants can expect to walk away with a plan and the motivation to dare greatly!

  • How can museums become self-sustaining without the need for traditional fundraising? The International Spy Museum launched in Washington, DC in 2002 as the first major for-profit museum. Now, 18 years later, the Museum has transcended the traditional museum business model—and ignited a new breed of self-sustaining museums throughout the country. Learn the strategies behind business planning, operations management, private/public partnerships, and out-of-the-box thinking that created this iconic success story. Culture Business attendees will come away with tried-and-true monetization tactics, dos and don’ts of self-operating, and creative strategies to engage new audiences.

  • Since 2002, on the first Saturday in October, Paris becomes the place where anything is possible, where each person can experience an extraordinary artistic event. Free and open to all, it is an invitation to celebrate contemporary art in the city, with more than 100 works and gathering more than 1 million people.

    Since its creation, the success of Nuit Blanche in Paris has led 35 cities to organize their own Nuit Blanche, from Brussels to Kyoto, Melbourne and Taipei.

    The support of partner companies is indispensable to the event’s success as partners provide almost 50% of the budget. Yet partners increasingly want more in return for their financial support: they expect to co-create and involve their community. Given this, the need arises to reshape and redesign fundraising strategies in order to renew strategic partnerships and develop new ones, while assuring the value and artistic independence of Nuit Blanche.

  • The decline in advertising revenue experienced across all media outlets means that new models of support are required to safeguard quality independent journalism.

    Guardian Australia was established with seed funding from the philanthropist, Graeme Wood. Philanthropy was also a source of the additional support required to resource investigative public interest reporting.

    Philanthropic support for public interest journalism is established in the US and UK but is relatively new in Australia. Janine Collins has been assisting The Guardian in this early stage of building its new philanthropic program through the Guardian Civic Journalism Trust.

    The first philanthropic grant to the Guardian Civic Journalism Trust was given by the Balnaves Foundation for an Indigenous affairs reporting and education initiative. Within months, the high impact of the program was evident.


  • Board members are key factors in attracting major donors. They can also be especially helpful in soliciting funds from corporations or foundations. Should arts organisations have board members acknowledge that fundraising is part of their job from the outset? How can boards be used to better support fundraising?

Tickets

Conference Ticket

What is included in your ticket?

2 day working conference, access to all Keynotes, Panel Discussions, Workshops, Masterclasses and Round Table Sessions.
Access to all social events and networking opportunities.
Free entrance to all Partner Institutions.
Digital book “Best of 2018” including keys learnings and best practices from the Communicating the Arts and Culture Business conferences in 2018.
A special rate to Much Ado About Nothing presented by Bell Shakespeare.
After conference materials available – podcasts, key learnings and photo album.

Register here

Last Minute Rate

Valid between 16 October and 21 November 2019
1350 AUD * For Non Profit
1850 AUD * For Business

Day Tickets

Day Tickets are available for Thursday 21 and Friday 22 November 2019

675 AUD * For Non Profit
925 AUD * For Business





Special offers

Multiple tickets purchase

Discounts are available for multiple tickets purchased at the same time :

10% discount when you register 2 staff members from the same organisation
Enter the following code : CBSYD_DUO
20% discount when you register 3 staff members from the same organisation
Enter the following code : CBSYD_TRIO
30% discount when you register 4 staff members from the same organisation
Enter the following code : CBSYD_QUATUOR

Discounts cannot be accumulated.


Student Rate on request
Please contact Marianne@communicatingthearts.com


Press
For press accreditation and interview requests please contact corinne@communicatingthearts.com




Terms

* Without VAT
Prices are listed in AUD

Terms and Conditions
In registering for Culture Business Sydney you accept the Terms and Conditions of the event.



Participants

200 international professionals will gather to network, engage in stimulating conversations and rethink their institution’s revenue model.

Our delegates come from international arts institutions such as theatre, opera and ballet companies, festivals, biennales, museums, and galleries alongside sponsors from businesses, public organisations and foundations, plus universities, think tanks and private consultancies.

    • Job title

    • Organisation

    • Country

    • Director
    • Art Gallery of Ballarat
    • Australia
    • Director of Development
    • Art Gallery of NSW
    • Australia
    • Head of Campaign
    • Art Gallery of NSW
    • Australia
    • Executive Assistant
    • Art Gallery of NSW
    • Australia
    • Corporate Partnerships Manager
    • Art Gallery of NSW
    • Australia
    • Head of Business Development and Partnerships
    • Art Gallery of NSW
    • Australia
    • Philanthropy Support Officer
    • Art Gallery of NSW
    • Australia
    • Philanthropy Coordinator
    • Art Gallery of NSW
    • Australia
    • Campaign Assistant
    • Art Gallery of NSW
    • Australia
    • Partnership Manager
    • Art Gallery of Western Australia
    • Australia
    • Head of Business Development and Partnerships
    • Art Gallery of South Australia
    • Australia
    • Membership Manager
    • Auckland Art Gallery
    • New Zealand
    • Development Manager
    • Auckland War Memorial Museum
    • New Zealand
    • Director of Philanthropy
    • Australian Chamber Orchestra
    • Australia
    • Deputy General Manager
    • Australian National Academy of Music
    • Australia
    • Partnerships Consultant
    • Australian National Maritime Museum
    • Australia
    • Manager Members - Australian National Maritme Museum
    • Australia
    • Visual Arts National Editor
    • ArtsHub
    • Australia
    • BDM
    • ArtsHub
    • Australia
    • Deputy Director
    • Asian Civilisations Museum
    • Australia
    • Director, Marketing and Development
    • Bangarra Dance Theatre Australia
    • Australia
    • Annual Giving Manager
    • Bell Shakespeare
    • Australia
    • Philanthropy and Major Gifts Manager
    • Bell Shakespeare
    • Australia
    • Executive Director
    • Belvoir St Theatre
    • Australia
    • Head of Corporate Affairs
    • BHP Olympic Dam
    • Australia
    • Senior Manager, Marketing and Development
    • Carclew
    • Australia
    • Chief Executive
    • Carclew
    • Australia
    • Senior Manager, Social Enterprise
    • Carclew
    • Australia
    • Manager, Arts Programs
    • Carclew
    • Australia
    • Manager, Arts Programs
    • Carclew
    • Australia
    • Philanthropy Manager
    • Carriageworks
    • Australia
    • Partnerships Manager
    • Carriageworks
    • Australia
    • Director, Partnerships and Communication
    • Carriageworks
    • Australia
    • Senior Advancement Officer
    • Corning Museum of Glass
    • USA
    • Programs Officer
    • Creative Partnerships Australia
    • Australia
    • State Manager NSW &
    • ACT
    • Creative Partnerships Australia
    • Australia
    • CEO
    • Creative Partnerships Australia, Australia
    • State Manager NT
    • Creative Partnerships Australia
    • Australia
    • State Manager WA &
    • SA
    • Creative Partnerships Australia
    • Australia
    • Executive Director Operations &
    • Marketing
    • Creative Partnerships Australia
    • Australia
    • Executive Director Strategy &
    • Programs
    • Creative Partnerships Australia
    • Australia
    • State Manager QLD
    • Creative Partnerships Australia
    • Australia
    • State Manager VIC &
    • TAS
    • Creative Partnerships Australia
    • Australia
    • ACF Manager
    • Creative Partnerships Australia
    • Australia
    • Business Manager
    • Koorie Heritage Trust Inc
    • Australia
    • General Manager
    • Maruku Arts
    • Australia
    • Partnerships Executive
    • Melbourne Theatre Company
    • Australia
    • Partnerships Manager
    • Melbourne Theatre Company
    • Australia
    • Senior Manager, External Relations &
    • Strategy
    • Melbourne Symphony Orchestra
    • Australia
    • Head of Heritage, Communications and development
    • Museum of Australian Democracy
    • Australia
    • Partnerships Coordinator
    • Museum of Australian Democracy
    • Australia
    • Manager, Marketing &
    • Communication
    • Museum of Australian Democracy
    • Australia
    • Communications &
    • Marketing Officer
    • Museum of Australian Democracy
    • Australia
    • Assistant Manager, Partnerships and Commercial
    • National Portrait Gallery
    • Australia
    • Project Manager
    • Plateforme 10
    • Switzerland
    • Director of Human Resources and Head of Diversity, Equity and Inclusion.
    • San Francisco Ballet
    • USA
    • Director of Development
    • The Old Vic
    • UK
    • Communication Director
    • The Royal Danish Theater
    • Denmark
    • Company Director
    • Tracks Dance Company
    • Australia
    • Head of Strategic Development, Media and Commercial Partnerships at City of Paris
    • Ville de Paris – City Hall
    • France
    • Executive Officer
    • Ulumbarra Foundation
    • Australia
    • Director
    • Wavelength
    • Australia
    • Philanthropy Manager
    • Museum of Contemporary Art
    • Australia
    • Director
    • Otago Museum
    • New Zealand
    • Head of Business Development and Partnerships
    • Queensland Art Gallery / Gallery of Modern Art
    • Australia
    • Company Manager
    • Patch Theatre Company
    • Australia
    • Marketing and Development Co-ordinator
    • Patch Theatre Company
    • Australia
    • General Manager
    • Canberra International Music Festival
    • Australia
    • Artistic Director
    • Canberra International Music Festival
    • Australia
    • Director of Development
    • Art Gallery of NSW
    • Australia
    • Director Engagement and Support
    • Red Cross Australia
    • Australia
    • Head of Communications and Fundraising
    • Natural History Museum of Denmark
    • Denmark
    • Board Member
    • Australian Centre For The Moving Image
    • Australia
    • Director
    • Science Gallery Melbourne
    • Australia
    • Director Museums and Collections
    • University of Melbourne
    • Australia
    • Principal Consultant
    • J9 Consulting
    • Australia
    • CEO
    • The Balnaves Foundation
    • Australia
    • Philanthropy Manager
    • Belvoir St Theatre
    • Australia
    • Head of Development
    • Belvoir St Theatre
    • Australia
    • President
    • Gallagher Museum Services
    • USA
    • Executive Officer
    • Guildhouse
    • Australia
    • CEO
    • Helpmann Academy
    • Australia
    • Manager Philanthropy
    • Adelaide Festival Centre Foundation Inc
    • Australia
    • Director of Public Affairs
    • J. Paul Getty Museum
    • USA
    • Development Executive
    • State Opera South Australia
    • Australia
    • Business Manager
    • Shepparton Art Museum
    • Australia
    • CEO
    • South Australian Living Artists Festival
    • Australia
    • Development Manager
    • Shopfront Arts Co-op
    • Australia
    • Senior Project Officer Music Education Strategy
    • Government of South Australia
    • Australia
    • Manager Music Education Strategy- Government of South Australia
    • Australia
    • Associate Director, Strategic Partnerships
    • Arts Centre Melbourne
    • Australia
    • Partnerships Coordinator
    • Castlemaine State Festival
    • Australia
    • Director of Development
    • Australian Centre for the Moving Image
    • Australia
    • Philanthropy Manager
    • Australian Centre for the Moving Image
    • Australia
    • Admin &
    • Finance Manager
    • New England Conservatorium
    • Australia
    • Business Support Administrator
    • Richmond Associates
    • Australia
    • Editor in Chief - F&
    • P Magazine
    • Australia
    • Foundation Manager
    • Queensland Art Gallery
    • Australia
    • Managing Director
    • The Metropolitan Orchestra
    • Australia
    • CEO
    • Heaps Decent
    • Australia
    • Senior Producer and Development Manager
    • Urban Theatre Projects
    • Australia
    • Marketing &
    • Development Manager
    • Restless Dance Theatre
    • Australia
    • Executive Director
    • Polyglot Theatre
    • Australia
    • Marketing, Communications &
    • Partnerships Manager
    • Australian World Orchestra
    • Australia
    • Head of Development
    • Byron Writers Festival
    • Australia
    • Development Officer
    • Canberra International Music Festival
    • Australia
    • Head of Development &
    • Marketing
    • Australian Centre for Contemporary Art (ACCA)
    • Australia
    • business development manager
    • JUTE Theatre Company
    • Australia
    • Director, Private Investment and International
    • Department of Communications and the Arts
    • Australia
    • Philanthropy Manager
    • Australian Festival of Chamber Music
    • Australia
    • General Manager
    • Photo 2020
    • Australia
    • Executive Director
    • PHOTO AUSTRALIA LTD
    • Australia
    • Fundraising and Development Manager
    • National Art School
    • Australia
    • National Partnerships &
    • Brand Manager
    • Questacon
    • The National Science and Technology Centre
    • Australia
    • Partnerships Coordinator
    • Questacon
    • The National Science and Technology Centre
    • Australia
    • Marketing Advisor and Project Consultant
    • Mayvin Global
    • Australia
    • Associate Director, Asia Pacific
    • Tessitura Network
    • Australia
    • Managing Director, Asia Pacific
    • Tessitura Network
    • Australia
    • Director
    • Execucare
    • UK
    • Development Manager
    • University of Melbourne
    • Australia
    • Head of Partnerships
    • National Gallery of Australia
    • Australia
    • Partnerships Manager
    • National Gallery of Australia
    • Australia

Partners

Become a partner

Culture Business is the leading international conference for development professionals working in culture. Our network includes more than 8000 culture and art professionals from over 40 countries.

Partner with us to

  • Gain exclusive access to key decision makers in your market
  • Access a global network of museums, heritage, visual and performing arts organisations
  • Associate your brand with the leading international event for senior arts professionals working in fundraising, sponsorship and
    philanthropy
Download our partnership presentation

Travel tips

More details

The conference will take place in the city’s best cultural venues. The Australian National Maritime Museum will be the main host of the conference.

Australian National Maritime Museum
2 Murray St, Sydney NSW 2000, Australia

Contact

PROGRAMME
Janine Kersten
Senior Project Manager
janine@communicatingthearts.com
Tel +49 30 26 03 03 81

PARTNERSHIP
Corinne Estrada
Founder and CEO
corinne@communicatingthearts.com
+61 403 413 120