The Cardiff museum is the first Welsh winner of the £100,000 prize, beating other finalists including V&A Dundee and Pitt Rivers Museum
Northern Ireland's HMS Caroline and V&A Dundee among five finalists for the Art Fund's annual prize
The Art Fund is doing away with its volunteers
The Art Fund's latest report concludes that museums and galleries offer a way to de-stress—but they should not just a place for calm and comfort
Thanks to an austerity-induced accounting trick, lottery funding is replacing taxes
UK non-profit's plan may draw in young crowds which are a target demographic for museums
Hull gallery more than tripled visitor numbers during UK City of Culture year after “Herculean” renovation
Being part of the Museum of the Year brings kudos and a big PR boost, but some finalists have still found the financial going tough
After a bumpy start, the extension to the Tate’s westernmost outpost has been welcomed and is now enabling the gallery to reach its full potential
The newly opened museum takes visitors on a journey underground and reflects major shifts in the nature of human connection
The library shows that grassroots museums can take a gutsy stand and contribute to global debates
All museums and galleries do important work—so what makes a truly visionary organisation?
A historic motor-racing circuit, Concorde and 4D experiences combine to provide a day out of old-school charm with contemporary quirks
Sarah Crompton, a former Museum of the Year judge, recalls her voyage of discovery across the UK
Recently renovated Tate St Ives and Hull's Ferens Art Gallery are among £100,000 prize's five contenders
Price of Leonardo’s Salvador Mundi, which sold for £333m, represents over half of government’s total financial backing for museums last year
Denis Mahon’s gift of the century comes with conditions
The Blue Rigi has been sold to an overseas collector, and after last year's loss of the Dark Rigi the pressure is on
Serota discusses export laws and what is truly significant to public collections
This important addition to Scottish collections includes nearly all of his best multiples
Archives telling the story of Strong’s first years as director of the London museum, released under the 30-year rule, reveal how money was raised for two of the finest 18th-century portraits in its collection