The Blue Room by Suzanne Valadon, an important post-impressionist artist.
The National Gallery’s reliance on outdated, male-dominated art history is a failure of its duty as a steward of the British public’s art collection
What the world stands to lose due to Putin’s unprovoked war.
The Uffizi gallery in Florence, Italy was unhappy over Pornhub’s use of Botticelli’s Venus, which they house.
The Uffizi Gallery in Florence has threatened legal action against Pornhub for use of its art in pornographic work.
Harvard University/Dumbarton Oaks Museum. Photo courtesy Steensen Varming.
Museum lighting standards assume galleries are still using incandescent bulbs or fluorescent lights. But LEDs offer more for both audiences and conservation.
A woman walks past a mural in Vancouver, B.C. The power of public art is its ability to turn artistic practice into a social action.
THE CANADIAN PRESS/Marissa Tiel
When public art pairs artistic expression with community engagement, it can honour the diverse communities that share public spaces and spur important conversations.
Galleries are great places for solo trips.
Whether it’s a day out with the kids or a solo visit, these tips will achieve the experience you want.
Artist Steven Shearer’s untitled billboard images of reclining and sleeping people were displayed as part of Capture Photography Festival in Vancouver but were soon removed due to complaints.
Examining parallels between Steven Shearer’s billboard images and religious figures of 17th century baroque art allow a consideration of how context is everything when it comes to reading images.
Louise Bourgeois’ Maman (1999) outside the Tate Modern in London.
AP Photo/Nathan Strange
In this instalment of our fantasy art travel series, Jen Webb yearns to revisit London, a special aunt and a very big arachnid.
Time/Timeless/No Time (2004) by Walter De Maria.
The Chichu Art Museum, on the Japanese island of Naoshima, is a breathtaking place to rethink the relationship between nature and people.
The proposal that monuments must be preserved at any cost hinders rather than helps institutions handle the decolonisation of their collections.
New research shows COVID-19 threw existing inequalities into sharp relief: well-funded institutions were able to move their projects online, while smaller galleries struggled.
Anonymous accounts of racism in gallery spaces criticise the industry for failing to tackle systemic discrimination.
Anonymous accounts show how urgently contemporary galleries need to confront legacies of discrimination
Artwork ‘Melly Shum Hates Her Job’ by Ken Lum hangs in the Witte de Withstraat district in Rotterdam, The Netherlands, shown May 2008.
(Ken Lum/Wikimedia Commons)
A Rotterdam art centre removed its colonial-era name and is renaming itself ‘The Kunstinstituut Melly,’ to honour the city’s 30-year love affair with Ken Lum’s iconic work.
Understanding the different types of visitors and how they navigate museums can help these institutions reopen safely.
Galleries and musuems are rapidly moving online in response to social distancing measures, but the digital divide means regional and remote organisations could be left behind.
Both parties have placed museums at the heart of their cultural policies, renewing commitment to free entry.
While both parties are championing the arts and culture sector, after years of swingeing cuts these promises dazzle but offer little hope to struggling institutions
The biggest ever display of Islamic art at the Art Gallery of South Australia holds breathtaking masterpieces, and important lessons for all.
Art Gallery of South Australia/Saul Steed
No god but God at the Art Gallery of South Australia looks at over 1000 years of Islamic art, from Indonesia to Spain. It is a magnificent and necessary exhibition.
Dorrit Black, The Bridge, 1930.
Oil on canvas on board,
60.0 x 81.0 cm.
Bequest of the artist, 1951, Art Gallery of South Australia, Adelaide.
Dorrit Black, Grace Cossington Smith and Grace Crowley were some of many talented modernist women artists. But only with the advent of second wave feminism in the 1970s was their work properly acknowledged.
An Instagram post from Gerhard Richter’s exhibition at the Queensland Gallery of Modern Art.
While it may have a reputation for narcissism, Instagram is being embraced by the art world, with Insta-friendly works and exhibitions.
Halfway to the light, halfway through the night 2010-14, by Jumaadi.
© AGNSW, Felicity Jenkins
The Dobell is a celebration of drawing. And the work in this year’s show, from Noel McKenna’s beautifully rendered drawings of dogs to Richard Lewer’s depictions of states of mind – is first rate.