Manchester Art Gallery took action when it emerged that just 8.5% of its permanent paintings collection were by women, writes Josh Sandiford. With the rate of female artists' representation across other UK museums estimated at 10.8%, how can civic institutions address questions about power and privilege?
A viral image of Jacob Rees-Mogg reclining on a bench in the House of Commons evokes an acknowledged motif in art, writes Hannah Jane Parkinson. She compares the politician's now-infamous slouch to some of art history's greatest examples.
The economic imperatives - and economic successes - of the so-called creative industries are harming artists, writes Oli Mould. Here he argues for a "drastic turnaround" in our political conception of creative sectors.
Positioning a museum's brand can be tricky - especially if your museum is gynaecologically inclined. David Styles talks to Vagina Museum founder Florence Schechter about balancing its unique identity with broader public appeal.
The reconstruction of the National Museum of Brazil will begin this month, a year after the institution was ravaged by fire. Its boss says the new building will exhibit the country's spirit of independence - and a surprising number of recovered artefacts, Tanner West writes.
Art handlers worry that their employers are compromising their health and safety for the sake of expediency. With no benefits, health insurance or paid holiday, Zachary Small asks: why enter the profession at all?
A new gallery for a small group of Australian artists offers them a way to "leave their legacy", its founder says. Stephanie Convery looks at the process, practice and philosophy behind the country's first gallery featuring only female artists.
American orchestras are like a canary in a coal mine - "so dependent on public support that we lose oxygen first", the chair of one international organisation tells Lottie Elizabeth Johnson. What can British orchestras learn from their struggle?
For creative professions, social media capital can be just as, or more important, than ability and experience, Angelica Frey writes. She considers the mundane, all-consuming reality of creating "aspirational content".
Ten years of National Theatre Live has allowed more people outside of London to see theatrical shows and changed the landscape of theatre production worldwide, writes Ruthie Fierberg. She looks at how the model works.