Apollo talks to Imran Qureshi ahead of his major UK exhibition at Ikon
The Turner Prize turns 30 this year – but does it continue to represent the best of contemporary British art?
It’s easy to be sceptical about the art biennial boom in Asia. But how have the unconventional spaces of such events shaped artists’ practices in the region?
London’s seminal Asian art initiative embraces the market’s new globalism, but connoisseurship remains at the heart of the event
In a region that lacks a strong museum culture, Asia has looked towards alternative ways of displaying contemporary art
Earlier this year, the Hiscox Online Art Trade Report estimated the value of the online art trade in 2013 to…
Adriano Pedrosa talks to Apollo about his Spotlight selections for Frieze Masters
Do art historians and other art authenticators need greater legal protection?
As the Art Fund appeals to save Wedgwood, will anything be done to secure one of Turner’s major works for a national collection when it goes up for sale at Sotheby’s?
In Apollo’s September Diary, Christopher Rowell celebrates 50 years of the Furniture History Society
Brussels Art Square is bolstered by a new initiative to encourage international visitors
The Warburg Institute in London was celebrated in the October 1970 issue of Apollo. But as custodianship of the organisation comes under scrutiny, its future hangs in the balance
From the outside, the UK’s regional museums may look to be in rude health. But how have recent funding cuts affected what’s happening behind the scenes?
The contemporary art trade may seem like a funny old business but historically it has played an integral role in the development of Western art
After its long-awaited redevelopment, the Clark has unveiled an impressive new building designed by Tadao Ando alongside refurbished galleries by Annabelle Selldorf
Extract for our July/August Diary by Ruskin expert Robert Hewison
Apollo’s July/August Forum
Extract from our June Diary by David Saunders, Keeper of Conservation and Scientific Research at the British Museum
How many people, in the art world and beyond, are able to distinguish Gilbert Proesch from George Passmore?