Comment

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?

The relationship between photography and museums is a vexed one. Do attitudes need to change?

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

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

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

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