Jump to navigation
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.
Submitting a grant application can be a difficult and confusing process. Deaf artist Olivier Jamin shares his tips for disabled applicants.
From MoMA Oxford and ICA to Artangel and Arnolfini – Rob Bowman tells us about his career presenting extraordinary art.
From a small festival born of community need, to an international agency for Chinese contemporary art, Zoe Dunbar tells the story of CFCCA.
Does living near a museum or gallery affect whether you visit it or not? Researcher Orian Brook borrows techniques from geography to investigate.
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.
Creative industries growth continues to outstrip other sectors, but music, performing and visual arts are faring less well than in previous years.
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.
What’s it really like to work as a curator? Bluecoat’s Adam Smythe shares his story and advice for those considering a career in curating.
When you look at a painting in a gallery, do you ever wonder how it got there? David Gosling explains how to stay cool and focused whilst moving priceless pieces of art.
A new scheme will see one work by a leading British artist acquired for a Contemporary Art Society member museum every year.
Five days, five photos. What does a week with a print-making, book-binding artist like Ben Goodman look like?
How do you stop art crime when it is the most lucrative criminal sub-sector after guns and drugs? Jeanna Heeraman has a few tips.
A year before Tate is due to renew its sponsorship with BP, Platform London is curating a free, completely unauthorised festival inside Tate Modern.
How do you market exhibitions to audiences with competing preferences? Hannah Carroll shares her top tips.
The Art Fund has had to call off its campaign to save Rembrandt’s portrait of Catrina Hooghsaet as the seller has withdrawn its application for export, but is proceeding with its sale.
What’s it like to be a Communications Assistant at BALTIC Centre for Contemporary Art? Alison Brown fills us in.