The 'Larrikins', counter-culture and psychedelic Smartiples: an alternative look at Australian art in London
Laura Knight is undoubtedly an important figure in British art and history; she's just not a particularly inspiring painter
The sale of Sir Albert Richardson's collection is a loss for the nation that could and should have been averted
It may be a publicity stunt, but the V&A's controversial acquisition of the 'Liberator' 3D printed gun says a lot about our ambivalent relationship to new technologies
The proliferation of 'mega spaces' in London looks set to continue, and it leaves too many smaller galleries struggling to keep their footing
The view from Richmond Hill has changed little since Turner brought landscape out from the background of British painting
Peter Crack on why a picture is worth a thousand words...
‘Les aventures de la vérité' is a good opportunity squandered at the hands of Bernard-Henri Lévy
Arthur Hobhouse and Patrick Barstow of New Artists (NA) abandon the gallery in favour of a smallpox-ridden catacomb
Should we have a relaxed attitude to deaccession? James Bradburne and David Ekserdjian debate the topic in Apollo's September issue
If the north of England is to redefine itself as a cultural hub, its funders can't afford to have second thoughts
Barry Humphries pays tribute to Lewis Morley, 'one of the finest photographers of his age' and a personal friend
The story behind Samuel Courtauld's collection of Gauguin paintings is more compelling than the works themselves
Reports of the death of print magazines have been exaggerated. All the same, no magazine can afford to rest on its laurels
There’s a lot of talk about the challenges that digital publishing poses to print; less about how they might complement each other
When will Italian museums do something to improve their websites?
Contemporary artists are harnessing new digital technologies to respond to the Arab Spring
Can a timeless Constable painting hold its own on a busy train platform?
Imperfect Importance: Laura Knight
Laura Knight is undoubtedly an important figure in British art and history; she's just not a particularly inspiring painter
Rejected Riches: Avenue House
The sale of Sir Albert Richardson's collection is a loss for the nation that could and should have been averted
Controversy by Design
It may be a publicity stunt, but the V&A's controversial acquisition of the 'Liberator' 3D printed gun says a lot about our ambivalent relationship to new technologies
Deserted Halls of Commerce
The proliferation of 'mega spaces' in London looks set to continue, and it leaves too many smaller galleries struggling to keep their footing
Revolutionary Richmond?
The view from Richmond Hill has changed little since Turner brought landscape out from the background of British painting
Getty’s Images
Peter Crack on why a picture is worth a thousand words...
Misadventures
‘Les aventures de la vérité' is a good opportunity squandered at the hands of Bernard-Henri Lévy
The Gallerists
Arthur Hobhouse and Patrick Barstow of New Artists (NA) abandon the gallery in favour of a smallpox-ridden catacomb
Forum: Deaccession Debates
Should we have a relaxed attitude to deaccession? James Bradburne and David Ekserdjian debate the topic in Apollo's September issue
The New North?
If the north of England is to redefine itself as a cultural hub, its funders can't afford to have second thoughts
Lewis Morley
Barry Humphries pays tribute to Lewis Morley, 'one of the finest photographers of his age' and a personal friend
Gauguin’s Gap Year
The story behind Samuel Courtauld's collection of Gauguin paintings is more compelling than the works themselves
From the Editor
Reports of the death of print magazines have been exaggerated. All the same, no magazine can afford to rest on its laurels
Web Editor’s Welcome
There’s a lot of talk about the challenges that digital publishing poses to print; less about how they might complement each other
Italy’s Digital Ruins
When will Italian museums do something to improve their websites?
Snap Happy
Revolutionary Practices
Contemporary artists are harnessing new digital technologies to respond to the Arab Spring
Art Everywhere
Can a timeless Constable painting hold its own on a busy train platform?