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A new study looking at the benefits of visual art activities for people living with dementia should provide the evidence that decision-makers need, say Teri Howson-Griffiths and Gill Windle.
Preston’s Harris Museum and Art Gallery needs ‘re-imagining’ and who better to do it than the young people who will be its visitors in the years to come, says Matthew Wilde.
Tate’s Circuit programme for young people has helped promote wider organisational understanding of the value of young people as cultural producers. Mark Miller reflects on its impact and highlights.
From FACT to Castelfield Gallery, Helen Wewiora takes us through the steps of her career in contemporary art.
The gender divide amongst artists exhibited and sold is not inevitable, and new research into Artfinder’s online community proves it, says Jonas Almgren.
Inspired by theatres, Bristol’s museums and galleries decided to try out a ‘pay what you think’ model for exhibitions. Philip Walker tells the story.
Eleni Duke found galleries intimidating, silent and unwelcoming, so she decided to open her own where everyone was welcome. She shares what she’s learned.
“Be brave and go for it”, artist and gallery founder Lynette Gray advises those starting their careers.
The new Executive Director of Protein Dance, Franck Bordese, looks back on his career championing cross-artforms and engagement work.
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.
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.