Opinion

Comment: The Tate should take BP’s money—and ask for more

Protests about the gallery’s lack of transparency concerning the energy company's sponsorship miss the point of how big business and the arts interact

Comment: it’s the economy, stupid—and the art market is no longer immune to its vicissitudes

While the 2008 global financial meltdown largely failed to dent sales, in 2015 our editor-at-large warned that the falling oil price experienced at the time could prove much more serious

The scholarly battle over Beuys

Let’s admit it: without the artist to explain and animate his work, much of it is incomprehensible

Artist’s copyright versus curator’s freedom of expression: The wider legal significance of the Beuys case

The estate of Joseph Beuys has brought the Museum Schloss Moyland to court over photographs of Beuys' performance art

Adrian Ellis on Tate's expansion: the definition of success

After a decade of acclaim, will its triumph be topped by Tate Modern 2?

Opinionarchive

Saving the ephemeral art gallery: The director of Tate Liverpool on preserving institutional history

'History is unpredictable, and we cannot know which obscure artist or minor exhibition may once be regarded as a groundbreaking historical event'

The time has come for a statute of limitations on restitution: stemming the flow of works from museums

Since the late 1990s there has been a strong push towards provenance research of collections and museums, and restitution of items that were looted or taken by the Nazis during their period of power

Opinionarchive

Comment: Tough times in the art market will create new opportunities

The current drop in activity may be healthy for the sustainability of the future art market

Comment: if the hedge funders ditch art, new buyers will emerge

In 2007 the economist James Sproule examined the risks facing the market—and the good news was it was not all doom and gloom

July 2007archive

Comment: the problem with a collector-driven market

There is a danger that money will trump knowledge, observed the New York dealer in 2007

Comment: why an art market clean-up would be a clear-out

In 2007 the creative industries consultant noted that the “insider” aspect of the contemporary art market and hierarchy of knowledge and status that it creates was a significant part of its attraction

Museum inaction on restitution is undermining public trust

Adrian Ellis, director of AEA Consulting, talks on the threat this poses to the perceived legitimacy of cultural institutions

April 2005archive

Comment: droit de suite in the EU is bad for all art markets—and the artists it is meant to help

The British Art Market Federation chairman on Artists' Resale Right representing a serious challenge to market competitiveness in 2005

Tatearchive

Tate (the magazine) as transitory as fashion

How the Condé Nast-published art magazine expresses the current merging of consumption values and art

Opinionarchive

All’s well in the world of museums

A look at the global climate of public institutions

Opinionarchive

Cultural diversity policy: A formula for indifference?

Why “cultural diversity” arts policies are condescending and do not enlarge the understanding of other cultures

Lettersarchive

Letter: Nero is the subject of the Warren Cup

One of the British Museum's finest treasures may depict a notoriously licentious Roman emperor

Opinionarchive

James Hall argues in defence of iconoclastic art

A response to critic Andrew Graham-Dixon’s opinions on the power of images as expounded in his current BBC tv series

Don’t just berate the thieves: look at the museums and excavators too

In the last of our series which publishes talks given in London this summer, Professor Sir John Boardman, Lincoln Professor Emeritus of classical archaeology and art at Oxford, singles out three areas for concern.

Tate's new retrospective: Why did we get de Kooning?

Are we right to be so admiring of the work currently exhibited at the Tate

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