Best of 3

Better late than never ... Matariki Williams (curator Mātauranga Māori at Te Papa, Tusk co-founder and The Pantograph Punch contributor) w...

Peter Peryer in his Devonport studio, 1985. Photo by Jim Barr and Mary Barr .  The artist Peter Peryer died on Sunday. I say 'artis...

Tara Robertson is back in Wellington as a keynote at this week's National Digital Forum , and catching up with her sent me back to her 2...

Museums are dangerous places: How Te Papa is challenging colonialist history - or as the author, my stellar colleague Puawai Cairns put it...

Back on the wagon ... A great Longform podcast interview with New York Magazine 's veteran art critic Jerry Saltz . Start listening to...

On Deaccessioning Like cicadas, elected officials seem to follow a periodical cycle: driven by some hidden biological cue, on a regular ba...

An excellent and topical piece by Adam Goodall for the Pantograph Punch,  The Difficult History and Precarious Future of the PACE Programme ...

A deeper than expected article on artist-branded merchandise from The Guardian - Van Gogh leggings and Tracey teacups: how art merch broke o...

Creative New Zealand recently released New Zealanders and the Arts , their regular research into how the arts are being experienced and perc...

Victoria University of Wellington is currently running a change proposal for the School of Art History, Classics and Religious Studies . Acc...

Wow. That was a long break. Back into it then ... I've done a lot of thinking about Kaywin Feldman's (the director of Minneapolis...

The Baltimore Museum of Art has announced plans to sell seven works by white male artists from its collection, to create an endowment targe...