Some of the stories and discussions we’ve spotted online this week:
Ukraine museums move to protect their collections
Ukraine’s culture ministry has advised museums to put their work in storage for safekeeping as fighting continues between pro-Russian separatists and Ukrainian government forces. Two institutions have been damaged recently in the conflict.
Who’s winning at online auctions?
Paddle8 have paired up with Dreweatt and Bloomsbury to hold a series of online auctions that charge no buyer’s premium. Meanwhile, Leon Black is eyeing up Artspace. Is this the start of an art market shakeup?
Not suitable for children: Chapman Brothers’ work taken down
The Maxxi museum in Rome removed Piggyback (1997) from its displays following a complaint from a children’s rights group – ironic, given Jake Chapman’s comment last week that children should be banned from museums.
Vast tomb discovered in northern Greece
A newly-uncovered tomb on the ancient site of Amphipolis could have links to Alexander the Great. The man himself is believed to be buried in Egypt, but there’s speculation that it could be the resting place of one of his generals, or even a family member.
Why are there so many exhibition revivals?
A timely look back at the foundations of today’s art scene? Or has everyone just run out of ideas? Laura C. Mallonee points out the recent curatorial trend for re-staging last century’s seminal exhibitions.
The National Gallery’s change of direction
The National Gallery is making some controversial changes in advance of its Rembrandt exhibition this autumn. Their decision to outsource security for the show has been loudly criticised by the PCS union. They’ve also lifted their ban on photography in advance of it, reigniting some old debates…
Speaking of photography in galleries…
We bring you the statue selfie, and camera-wielding robots in the Tate.
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![Masterpiece [Re]discovery 2022. Photo: Ben Fisher Photography, courtesy of Masterpiece London](http://zephr.apollo-magazine.com/wp-content/uploads/2022/07/MPL2022_4263.jpg)
Are the art market’s problems being blown out of proportion?