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In the January issue of Apollo, we asked a range of senior figures for their perspectives on copyright now
Cezanne goes digital; wit in museums; the perils of international museum franchises; and the Estorick’s public appeal
Some of the most noteworthy additions to museum collections
Which arts institutions and organisations are making the best use of digital technology?
One participating artist will win the Artes Mundi Prize, but this year the focus is on the exhibition as a whole
Was the Musée Picasso worth the wait? Is the Turner Prize showing its age? News and comment from the Muse Room
Artists on film; Spanish art in Durham; contemporary art in Paris; and auctions online
Our September Collectors’ Focus looks at the market for gothic ivories
What would Scottish independence mean for the arts? Is the Wallace Collection’s Great Gallery as good as they say? And who spends $65 million on a new pavement?
Ed Vaizey at the Art Business Conference, hard times for the UK’s regional museums, the potential impact of Scottish independence on its museums, and what you should visit this autumn
Ed Vaizey at the inaugural Art Business Conference, London
We spoke to the artist at the head of a campaign to keep creativity on the school curriculum
Winslow Homer’s ‘Milking Time’ and Alexander Calder’s ‘The Black Crescent’ are next up
The Sekhemka sale has quickly become something of a case study in the dangers of deaccessioning
40 Under 40; a gallery for Goldsmiths, art in Edinburgh; and a closer look at museum displays
Thomas Marks, Diane Lees and David Boyd Haycock discuss the role of art in commemorating the First World War
Are encyclopaedic museums concentrating too much on contemporary art? News and comment from the Muse Room
Apollo’s July/August Forum
A number of the architect’s prized models are back on prominent display in Sir John Soane’s Museum
News, comment and opinion from this week’s Muse Room: arts and crafts, ivory, twitter, public art, hidden stores and a $20 million stamp
Should a museum, purportedly in order to save its head, sell off the jewel in its crown?
The exhibition is the first to consider in depth the significance of colour to Piet Mondrian’s early career