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.
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.
Expand your horizons with travel and remember that every job requires a good listener: advice for 22 year olds from Artes Mundi Director Karen MacKinnon.
Securing investment to create major sculpture production facilities is among the aims of a new strategy for building the region’s reputation for the contemporary visual arts, launched by the North East CVAN.
Funders say they will encourage visual arts organisations to implement the payment framework, which aims to create better conditions for artists making work for public exhibitions.
