From teaware to taxidermy: the Barbican’s exhibition is a fascinating insight into artists’ collecting habits
Sophie Hill celebrates the postcard in a series of pop-up displays of pocket-sized art
The Queen’s Gallery’s latest exhibition brings together some exquisite items, but what of their cultural and political context?
Today’s museums work hard to develop interactive, immersive and sensory displays: but Moholy-Nagy got there first
How have artists used mannequins and dolls to manipulate their audiences?
The Foundling Museum introduces Dr Richard Mead
What is it that separates a house from a museum, and do we like those separations?
Paul Cummins’ red field of poppies has been planted by volunteers, and is still growing
Tate Britain’s ‘Kenneth Clark’ and ‘Folk Art’ shows looked at, and outside, the art-historical canon
Why museums should put their objects online
Courtauld students have put together a thoughtful exhibition alongside the gallery’s summer show
How can museums make the most of a tool like Twitter? @SignorKentino has some tips
Museums enrich communities around the world; why not take a day to celebrate that fact?
What do we mean by ‘connoisseurship’ these days?
Why have art and science particularly come together in a glorious synergy of exhibitions in 2014?
Art theft is rife in the world of film. Who doesn’t love a good heist?
Now here’s a thorny discussion around art, value and vandalism…
The Queen’s Gallery’s two current shows throw the question of private collecting and its relationship to artistic patronage into sharp relief
How do you open a private collection up to the public? A recent symposium at the Courtauld Institute looked at the topical issue
How do we value a work of art that is defaced, incomplete or fake? Is its damaged history actually its greatest asset?
Now that so many visitors have smart phones, museums can use digital tools to encourage engagement well beyond the gallery walls
Royal Museums Greenwich’s acquisition of George Stubbs’ Kangaroo and Dingo paintings is the most significant in their history. What’s next for the works?
What is the relationship between art and the market? And is an artist such as Banksy really better out than in?