As a new generation of artists takes the lead, the old distinctions between applied and fine arts can't hold
'Art Everywhere' have announced the images that will displayed across the UK this summer
How do the fields of art, craft and design approach each other and overlap?
Some exhibitions disappoint by design...
The relationship between photography and museums is a vexed one. Do attitudes need to change?
News and comment from the Muse Room: we're delighted to announce the judging panel for 40 Under 40, a new supplement...
What's it like to be part of Abramović's latest performance, and part of its documentation?
Do you have to visit Abramović in London in order to understand her latest work?
News and comment from the Muse Room: arts funding winners and losers, Scottish contemporary artists, and the women behind abstraction
The complex relationship between women artists and abstract art is only just being explored
Lord returns again and again in his art to northern England where he was born
A round-up of news and comment from The Muse Room: Nicholas Penny's retirement, the Mauritshuis reopening, and significance of selfies
The Whitney says goodbye to its old building with balloons, by the world's most expensive living artist...
Instead of conflating 'selfies' and self-portraits, shouldn't museums stand up for historic art as worthy in its own right?
How do you look at an unfamiliar object? A recent project at UCL gave researchers plenty of time to consider
The Venice Architecture Biennale, the Battle of Orgreave, digital catalogues, portrait busts and a critique of Richard Mosse... comment from the Muse Room
Do Nasreen Mohamedi's drawings at Tate Liverpool better reflect modernist camouflage experiments that Carlos Cruz-Diez's dazzle ship?
Mosse's use of colour in his series 'The Enclave' is compelling, but does it misrepresent his subject?
It's been 30 years since the Battle of Orgreave, and 13 since Jeremy Deller's re-enactment of it. Is it time to re-examine the re-examination?
They've catalogued and digitised all the UK’s oil paintings in public ownership, but they won't stop there
The reopening of Farnborough's flight testing centre is one of the most unusual and remarkable art projects in recent years
News, comment and opinion from this week’s Muse Room: arts and crafts, ivory, twitter, public art, hidden stores and a $20 million stamp
Most museums are like icebergs, the vast bulk of their collections are hidden. Does it have to be that way?
What makes a good work of public art? The success of Bill Viola's 'Martyrs' suggests that a sense of sincerity and tradition can win people round to contemporary formats
Art Everywhere: which works will fare best on the billboards?
'Art Everywhere' have announced the images that will displayed across the UK this summer
Art Close to Art: the status of the decorative arts today
How do the fields of art, craft and design approach each other and overlap?
The Quiet Biennale: the Eighth Berlin Biennale is deliberately introspective
Some exhibitions disappoint by design...
Should photography in museums be allowed?
The relationship between photography and museums is a vexed one. Do attitudes need to change?
The Week’s Muse: 12 July
News and comment from the Muse Room: we're delighted to announce the judging panel for 40 Under 40, a new supplement...
Present: Marina Abramović at the Serpentine
What's it like to be part of Abramović's latest performance, and part of its documentation?
Not present: Marina Abramović at the Serpentine
Do you have to visit Abramović in London in order to understand her latest work?
The Week’s Muse: 5 July
News and comment from the Muse Room: arts funding winners and losers, Scottish contemporary artists, and the women behind abstraction
Abstraction and Representation: women artists and contemporary art
The complex relationship between women artists and abstract art is only just being explored
An English Sculptor in England: Five works by Andrew Lord in the Tate
Lord returns again and again in his art to northern England where he was born
The Week’s Muse: 28 June
A round-up of news and comment from The Muse Room: Nicholas Penny's retirement, the Mauritshuis reopening, and significance of selfies
A ‘Koonsian Adventure’: Jeff Koons at the Whitney
The Whitney says goodbye to its old building with balloons, by the world's most expensive living artist...
Restrain your selfie: a defence of the self-portrait
Instead of conflating 'selfies' and self-portraits, shouldn't museums stand up for historic art as worthy in its own right?
Don’t look back? 100 Hours of close looking at UCL
How do you look at an unfamiliar object? A recent project at UCL gave researchers plenty of time to consider
The Week’s Muse: 21 June
The Venice Architecture Biennale, the Battle of Orgreave, digital catalogues, portrait busts and a critique of Richard Mosse... comment from the Muse Room
Dazzle ships and drawings in Liverpool
Do Nasreen Mohamedi's drawings at Tate Liverpool better reflect modernist camouflage experiments that Carlos Cruz-Diez's dazzle ship?
Oversaturated: the problem with Richard Mosse’s photography
Mosse's use of colour in his series 'The Enclave' is compelling, but does it misrepresent his subject?
The Battle of Orgreave and ‘The Battle of Orgreave’
It's been 30 years since the Battle of Orgreave, and 13 since Jeremy Deller's re-enactment of it. Is it time to re-examine the re-examination?
The Art of Digital: Your Paintings, Art Detective and the PCF
They've catalogued and digitised all the UK’s oil paintings in public ownership, but they won't stop there
Extraordinary structures: The Wind Tunnel Project in Farnborough
The reopening of Farnborough's flight testing centre is one of the most unusual and remarkable art projects in recent years
The Week’s Muse: 14 June
News, comment and opinion from this week’s Muse Room: arts and crafts, ivory, twitter, public art, hidden stores and a $20 million stamp
Open the stores: conservation, collections and the museum of the future
Most museums are like icebergs, the vast bulk of their collections are hidden. Does it have to be that way?
The soft approach to public art
What makes a good work of public art? The success of Bill Viola's 'Martyrs' suggests that a sense of sincerity and tradition can win people round to contemporary formats