What are the dynamics when a group of artists with and without learning disabilities work together? Emma Bosworth discusses the positive outcomes of the OutsiderXchanges project.
A series of portrait-painting events exploring and celebrating diversity engaged both live and online audiences. Mandy Fowler explains how people from all around the world got involved.
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.
Facebook Live has helped The National Gallery get closer to a worldwide audience. Tamara El Assawi shares what they’ve learned conducting online tours.
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.
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.
After landing the job of Offsite and Education Assistant at Chisenhale Gallery, Rachael Baskeyfield reflects on her journey from University graduate to employee.
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.
