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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.
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.
How do the public make value judgements about works of art? To find out, Saul Albert did some eavesdropping at Tate Modern.
What is it about great art that makes one’s hair stand on end? Claire Gulliver describes a contemporary art programme that tried to figure it out.
How much attention should you pay to the food at an art fair? And can you ask how much the art costs? Oonagh Murphy offers strong pre-visit advice.
The digital installations at Tate Modern’s new extension not only show previously hidden treasures, but also appeal massively to a young audience, says Adam Jenkins.
The Art Fund’s crowdfunding platform has given artists the chance to realise their dreams, but to make it happen requires hard work and commitment from everyone involved, says Rachel Mapplebeck.
A Government consultation on how tax relief can best be used to encourage more exhibitions and touring activity is now underway.