I quickly realised that what I didn’t want was a static memorial that the public went to to be sad. ... In the 21st century I felt we had do something different. So I thought about the memorial being human, and travelling round the country. It would take itself to the public rather than the public taking itself to the memorial.Jeremy Deller's We’re Here Because We’re Here is the most affecting and subtle (yet spectacular in its planning and spread) WWI commemorative happening I have come across.
Renzo Piano's beautiful, empty, Stavros Niarchos Foundation Cultural Centre in Athens reviewed by Ollie Wainwright for The Guardian.
An insight into how printers and photographers work together - Ruedi Hofmann, printer for Richrd Avedon, and his battle to have a suite of prints from the In the American West series authenticated.
An insightful, moving, and revealing article about how social work is being merged into library work in urban centres.
Elizabeth Merritt, director of the Center for the Future of Museums, on removing bias from a recent recruitment for an Education Fellow. Many of the tactics she employed are familiar, the reminder to remove lazy shorthand from job descriptions is useful (though salary banding is often informed by statements like 'requires postgrad degree' so that's an extra layer of wrinkles), but the six months taken to run this process - aieeee.