Opinion
Comment | Why it's important to find hope for—and through—the arts after the US election
The divisions within American society cannot be ignored, but let’s focus on where the country is united, and how the cultural sector can foster that unity
The limits of transnational women’s solidarity in Mexico City’s art scene
Recent episodes of censorship at two of the city’s leading art museums have laid bare the rifts between artists, institutions and their publics
Running an art school in London is not easy, but in The Art Academy the capital finally has a space that breaks the mould
The institution, which is about to welcome the first students to its new home, takes a refreshing and genuinely democratising approach to art education
Can artists protect their work by suing AI companies?
When it comes to copyright infringement, establishing culpability and illegality in the age of artificial intelligence is murky
Ten years on from the genocide, Yazidi culture is still absent from Western museums
Institutions have a moral duty to better represent the persecuted Kurdish religious minority
Now is the time to give artists a thriving wage
Paying artists properly enables them not only to meet their needs equitably but also to flourish, fostering future savings and investments within their communities
'The visual arts world needs to be vocal about the impact of funding cuts too'
The performing arts rally support by drawing attention to the state of jeopardy they are in—we could do with taking a leaf out of their book
'Museums should be safe spaces to explore issues and not used as pawns in political agendas'
The simplification of complex issues is enabled by weak or fearful cultural institutions and and strident self-righteousness
'There is a lot to learn from the rise of South Korea as a crucial arts and cultural hub'
The country recognises the arts as a powerful driver of education and professional identity, a beacon of corporate social responsibility and as a valuable tool of soft power and diplomacy
'Wage transparency is the way forward for museums'
New York City law now requires information about salary ranges in job descriptions—a welcome change for fellow art workers, say Tom Finkelpearl and Pablo Helguera
Why I believe utopian climate art can turn environmental apathy into action
Artist John Munro on his pursuit of the Romantic picturesque in depictions of the climate catastrophe
Botticelli's 'stunning and puzzling' Man of Sorrows
The painting, sold last week at Sotheby's for $45.4m, was listed among workshop and studio pictures in Ronald Lightbown’s 1978 catalogue of Botticelli’s work, before being included as an autograph work in an exhibition at Frankfurt's Städel Museum in 2009. Here, in a pair of opinion pieces, two Renaissance experts give their contrasting views on its attribution
Letter | Would you keep public monuments honouring the late Jimmy Savile?
No one would argue that removing statues of the sex criminal is “cancelling culture”, yet this logic is routinely used to defend monuments of slavers, argues one of The Art Newspaper's readers
Comment: The Tate should take BP’s money—and ask for more
Protests about the gallery’s lack of transparency concerning the energy company's sponsorship miss the point of how big business and the arts interact
Comment: it’s the economy, stupid—and the art market is no longer immune to its vicissitudes
While the 2008 global financial meltdown largely failed to dent sales, in 2015 our editor-at-large warned that the falling oil price experienced at the time could prove much more serious
The scholarly battle over Beuys
Let’s admit it: without the artist to explain and animate his work, much of it is incomprehensible
Artist’s copyright versus curator’s freedom of expression: The wider legal significance of the Beuys case
The estate of Joseph Beuys has brought the Museum Schloss Moyland to court over photographs of Beuys' performance art
Adrian Ellis on Tate's expansion: the definition of success
After a decade of acclaim, will its triumph be topped by Tate Modern 2?
Saving the ephemeral art gallery: The director of Tate Liverpool on preserving institutional history
'History is unpredictable, and we cannot know which obscure artist or minor exhibition may once be regarded as a groundbreaking historical event'
The time has come for a statute of limitations on restitution: stemming the flow of works from museums
Since the late 1990s there has been a strong push towards provenance research of collections and museums, and restitution of items that were looted or taken by the Nazis during their period of power
Tough times in the art market may create new opportunities
The current drop in activity may be healthy for the sustainability of the future art market
First Ullens show is not representative of its subject matter
A letter to the editor
Comment: if the hedge funders ditch art, new buyers will emerge
In 2007 the economist James Sproule examined the risks facing the market—and the good news was it was not all doom and gloom
Comment: the problem with a collector-driven market
There is a danger that money will trump knowledge, observed the New York dealer in 2007
Comment: why an art market clean-up would be a clear-out
In 2007 the creative industries consultant noted that the “insider” aspect of the contemporary art market and hierarchy of knowledge and status that it creates was a significant part of its attraction
Museum inaction on restitution is undermining public trust
Adrian Ellis, director of AEA Consulting, talks on the threat this poses to the perceived legitimacy of cultural institutions
Comment: droit de suite in the EU is bad for all art markets—and the artists it is meant to help
The British Art Market Federation chairman on Artists' Resale Right representing a serious challenge to market competitiveness in 2005
Why did the United Nations cover up Picasso’s “Guernica”?
How a historical work of art loses its past
Tate (the magazine) as transitory as fashion
How the Condé Nast-published art magazine expresses the current merging of consumption values and art