A third of frontline staff in Brighton’s museums have now taken part in a placement programme that is boosting their skills. Helen Graham explains how it works.
For Susan Miller, an MA in Fine Art has been a real opportunity to confront the vulnerability artists feel when exhibiting their work in public spaces.
Through the Circuit network, 15 to 25 year olds create arts events for other young people. Rachel Escott reveals what they’ve learned about marketing to this under-engaged audience.
He dropped out of art school and ended up painting backdrops for Star Wars and Harry Potter. What advice does Jack Candy-Kemp have for budding scenic artists?
Oil giant BP is to stop sponsoring art gallery Tate from 2017, blaming a “challenging business environment”, but will continue sponsoring the British Museum, the National Portrait Gallery and the Royal Opera House.
Many museums and galleries struggle to manage the costs of storing and conserving their collections. Emma Sumner introduces two innovative organisations that are making their collections pay their own way.
Light art in former porn shops and harrowing exhibitions about Yugoslavia’s ‘golden years’: all in week’s work for art critic and presenter Aindrea Emelife.
Did you know that many artists are entitled to royalties when their work is resold? Daniel Rudd answers your questions about the artist’s resale right.
When Annette Petchey moved to the north of England she was shocked at the low prices for visual art. She explains how New Light is now supporting northern artists.
A lack of business skills and access to equipment was holding artists in Dumfries and Galloway back. Clare Hanna explains the origins of Upland and how it supports artists.
