Engagement, interaction, the co-creation of meaning: these are the museum buzzwords of today. But what do they actually mean?
Surprisingly, their relationship with Los Angeles was ambivalent at best
The centenary of the artist's birth is being marked by exhibitions and events worldwide
His literary and profoundly religious approach to art put Jones out of step with modernism. Can two new exhibitions revive his reputation?
‘Contemporary art is a very elitist sphere,’ admitted Frame’s head of programmes Taru Elfving, ‘and it could be so much more'
'Don't ask me how we did it!'
Legal disputes surrounding artworks usually require a balancing act between absolute rights and shifting societal norms
The Dome of the Rock in Jerusalem is not a mosque, but a shrine. But a shrine to what?
As Europe faces its worst refugee crisis since World War Two, there is no better time to celebrate emigre art in the UK
Agnes Martin's serene paintings give pause for thought
Highlights from the fair, which has found a new leader in Fabrizio Moretti
‘If an artistic language is very complex, it can’t be used to communicate.’
As ISIS destroys the site, these items are more important than ever
British Museum brings together the best historic examples of a challenging graphic medium
Six of the most significant acquisitions to be announced by museums around the world
As the Wadsworth Atheneum reopens, Rachel Cohen considers the legacy of one of its greatest benefactors
The King is dead! Long live the King! Portraits of Louis XIV and his infant successor, Louis XV
Is there a case for teaching art history in all schools?
The enduring intellectual influence of Francis Haskell, the 'historian's art historian' who reshaped the whole discipline.
As some UK museums face cuts of up to 40 per cent, Bill Ferris and Alistair Brown discuss whether they should consider charging entrance fees again.
Does Moscow now have its Tate Modern, in the new Garage Museum of Contemporary Art?
Highlights from the world's most important commercial tribal art event
Elizabeth Bishop refused to regard her paintings as art, but the best of them reveal the same interest in surfaces, and attitude to the world as her poetry
Industrial action at the National Gallery puts a spotlight on the role of the museum guard
