In Defence of the Antiquities Trade
A response to Christos Tsirogiannis' post of 2 April on this site about possibly looted antiquities appearing in the London salerooms
A response to Christos Tsirogiannis' post of 2 April on this site about possibly looted antiquities appearing in the London salerooms
'...to be iconoclast is also a gesture of respect, of devotion.’
Maria Miller has resigned as UK culture secretary. Perhaps it's now time to rethink the DCMS entirely.
Review of 'Degenerate Art' at the Neue Galerie, New York
Why have art and science particularly come together in a glorious synergy of exhibitions in 2014?
A round-up of the week's reviews: Anselm Kiefer, Phyllida Barlow, Camille Henrot and sustainable art
A gallery of highlights from the V&A's current exhibition which looks at Italy's unique contribution to fashion
Sjarel Ex explains how the Museum Boijmans van Beuningen acquired a Hammershøi at TEFAF
In Apollo's April issue we spoke to Christophe Leribault, director of the Petit Palais in Paris
Flipping art is a controversial practice: it was only a matter of time before it resulted in a public spat
In his April Editor's Letter, Thomas Marks asks 'Was there ever a golden age for Italian Museums?'
French artist Camille Henrot’s first solo UK exhibition at Chisenhale Gallery is like asking a question and receiving a million answers
A round-up of the week's reviews: Paris, paintings, and two very different types of print
Maurice Davies on museum funding, Daisy Dunn on Pompeii's stolen fresco, and other stories from the Muse Room this week
Grayson Perry is the first visual artist to receive the honour. He must be getting used to making that claim.
A winningly eccentric exhibition of contemporary painting
What does it mean to be selected for TEFAF's yearly Showcase of promising new galleries?
The theft of part of a minor fresco in Pompeii is not in itself a huge loss, but it highlights wider security and conservation issues
The current Piranesi exhibition at Sir John Soane's Museum raises interesting questions about original artworks and their reproductions
Yinka Shonibare's work at the Barnes Foundation is both entertaining and deeply reflective