Professor Debby Swallow, the Courtauld's Director and Vice Chancellor, has issued the following statement after a request by the Courtauldian for the Courtauld's management's position on the current UCU strike. "The current dispute between University and College Union (UCU) and Universities UK (UUK), the organisation that represents UK universities nationally, relates to the pension arrangements of those who are members of the Universities Superannuation Scheme. Like pension

Courtauld academics picketing on the first day of the strike. The attack on teachers’ pensions, the cause of the strike, is merely part of a larger system under which the universities have been increasingly marketised and privatised, with dire consequences for students and staff alike. Universities have been thrown into artificial competition with one another, not just over the recruitment of students but also over research and teaching in a blatant divide-and-rule strategy.

Michael Fried’s essay, ‘Some new category’: Remarks on Several Black Pollocks featured in the catalogue of Tate Liverpool’s exhibition Jackson Pollock: Blind Spots asks us to view Pollock’s work as a continuation in the trajectory of art history. Whilst the exhibition presented Pollock’s paintings from 1951-1953, this review will explore the work displayed in the exhibition in relationship to his textual interpretation. Fried’s essay argues how at the heart of Pollock’s all-o

Charles I: King and Collector, Royal Academy Until 15th April 2018 King Charles I had one of the most incredible art collections of his time, including Titian, Mantegna, Holbein, Dürer and even commissioning the leading contemporary artists such as Van Dyck and Rubens. However, when he was executed in 1649, his collection was sold off and scattered across Europe. This exhibition reunites the masterpieces of this magnificent collection for the first time, including over 100 wo

Htein Lin with a plaster cast of a forearm from ‘Show of Hands’ (2013-ongoing) As both the first Papal visit to Myanmar and the debut show of the Lunn + Sgarbossa collaboration, ‘Voices of Transition: Contemporary Art from Myanmar’, draw to a close this weekend, political unrest continues to ripple through the country and as viewers we are left feeling unresolved and ineffectual. The works displayed in what was a showcase of contemporary art from Myanmar on a scale previously