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What rights do artists have when their work is exhibited without their permission? Eleni Polycarpou considers the controversy surrounding the Anselm Kiefer exhibition in China.
Don’t worry about rejection, and stay in touch with people who have successfully applied for funding, advises contemporary artist Olivier Jamin.
Facebook Live has helped The National Gallery get closer to a worldwide audience. Tamara El Assawi shares what they’ve learned conducting online tours.
Although visits by UK nationals have held steady, visitor numbers from overseas have fallen despite an overall increase in tourism.
Many great public art collections were founded upon the bequests of private collectors, but how can galleries engage the collectors and philanthropists of the future? Kirstie Hamilton reports on Museums Sheffield investigations.
Firmly held core values and an awareness of potentially excluding behaviour have been key to the success of Pallant House Gallery’s community work, says Sandra Peaty.
Revitalising derelict railway buildings could provide a solution to the shortage of studio and creative workspace in the East of England, explains Natalie Pace.
On Takeover Day a group of sixth-form students took responsibility for running an exhibition at London’s Guildhall Art Gallery. Katherine Pearce describes the day.
A digital gallery, loan schemes and public tours in schools and libraries are among the proposals for opening the Civil Service Art Collection to all.
Known for its alternative learning programmes, this year Wysing Arts explored the term ‘polytechnic’ by re-visiting the experimental art practices of the 1970s. Donna Lynas reports on the results.
Installing an exhibition for the first time ahead of an 18-month tour is no mean feat. Emma Daker shows us how it’s done.
After landing the job of Offsite and Education Assistant at Chisenhale Gallery, Rachael Baskeyfield reflects on her journey from University graduate to employee.
Exam board Pearson’s decision to offer the qualification from September 2017 has been welcomed by arts leaders.
How can museums and galleries stop highly organised art theft? Andy Davis recommends an approach that combines a mix of security measures.
Tate galleries and The Art Newspaper are amongst the first to adopt the new website domain.
From Patti Smith to Katy Dove, Platform’s Jenny Crowe tells us who inspires her.
Tate Liverpool’s work with local universities enhances its education and audience development programmes. Michael Birchall reveals how it builds and maintains these partnerships.
UK-based artworks loaned overseas to museums or galleries are more at risk from seizure in Italy than they would be in other European countries. Giulia Cipollini calls for the situation to change.
What should an emerging artist know? Director of the The Griffin Gallery, Becca Pelly-Fry, and Detroit-based artist, Corrie Baldauf, offer two different perspectives.
Thinking differently about how arts organisations talk to the private sector will be one of the keys to sustainability as limited resources pose challenges to artistic ambition.