A truly environmentally friendly art world requires that we give up the 'freedom, privilege and progress to which we are so accustomed'

Matisse's 1900 painting of the gothic cathedral risked taking on elegiac significance before the fire was extinguished

Certain subjects have become off-limits—but no one knows exactly what can or cannot be discussed

In the face of turbulent times the public art museum has a difficult, but essential role to hold open an open space for dissenting experiences of art and culture

Brazil’s cultural sector must respond to hard-right politics by reconnecting with the wider community

Today, art history is increasingly being written by dealers and auctioneers to suit their own purpose

While this year's A-level results show a rapid decline in arts subjects in the UK, countries outside of the West are stepping up teaching of creative subjects

The official spokesman of the wild-trade monitoring organisation responds to The Art Newspaper's article on the trade in elephant ivory—and we respond to him

Anny Shaw asks if auction houses and dealers should pay their dues to the artists from whom they profit

Unless the Art Gallery of New South Wales begins to focus more on exhibitions, there is every reason to believe that Sydney Modern will be a gigantic and costly flop

France's latest deal with the Kingdom reveals the close connection between culture and foreign affairs

Art critic Ben Luke gives us his take on this year's nominees

Christie's sale of 46 works from La Salle collection will diminish the museum and its academic programme

Slick marketing produced stupendous sale price for Salvator Mundi, but it sparked revulsion as well as elation

It’s time to stop letting the controversy over Jimmie Durham’s ancestry overshadow his art

Britain will pay a high price if its creative industries are ignored in negotiations to leave the European Union

Sam Durant’s Scaffold is a powerful work that should provoke anger about the death penalty, not the artist’s ethnicity

Damien Hirst’s exhibition in Venice this summer is part of a long tradition of counterfeiting history—but the UK artist has added a contemporary twist

With Italy’s historic reform of its museums’ leadership at risk in the courts, what we need is a more collaboration not less

An exclusive extract from a new book about the ideas and practice of Studio Olafur Eliasson places projects including Ice Watch, Green Light and Little Sun into a bigger context

Project helping migrants and refugees would be diminished if it was a sideshow

There is a downside to dropping the age limit of 50 for qualifying artists

A former minister of antiquities’ statement that ancient artefacts legally exported should stay abroad is a welcome change in attitude

Leading architects can help to revive a city’s image but cultural institutions need long-term support to shine brightly

The controversy over Dana Schutz's Open Casket is like a scene depicted in another of her paintings: a fight in an elevator with worn cables

The world’s greatest museum of decorative arts has been without a ceramics expert since 2016 and other gaps in knowledge are opening up

Why museums are falling victim to fakers: expertise is undervalued and in decline