This project aims to support thousands of Ukrainian women and men who lose their loved ones in the war.

The aims of The Royal Collection Trust are the care and conservation of the Royal Collection, and the promotion of access and enjoyment through exhibitions, publications, loans and educational activities. Similarly, in Diego Rivera’s wall text at Tate Modern, Frida Kahlo is not named – a significant absence as there are no works by Kahlo in UK public collections. Frances Parton is a curator at the National Army Museum who has been picking through its vast collection for the human stories of the wives, girlfriends – and occasionally husbands and boyfriends – and children left behind. Though this was a small proportion, it made me think that exhibitions still contextualise female artists in relation to the men they knew, and wonder whether this narrative can ever change.Across more than two centuries – from the mid-18th century to an army wife currently living at Catterick garrison – Parton found common themes, above all a yearning for the time when the family will be together again.

Russian Constructivist Vladimir Tatlin designed the 400ft tower in 1919 as a symbol of modernity and site of discussion and debate; it remains famously impractical and unbuilt. We are proud to be an equal opportunity employer where all job applicants will be considered for employment irrespective of our differences. We have uncovered old black and white photos that show the women in their prime along with other memorable objects. I’m delighted to be joining Legacy WM board of trustees both to support the development of a brilliant grass roots organisation in our city, and to connect The Rep with more local communities and learn how we can better serve them through our work as a major city institution.

were of work by Black American artists), while the volume of acquisitions of work by women peaked in 2009; what does this say about the state of art today? Highlights are Hilda Carline’s defiant early self-portrait (on loan from Tate), Spencer’s own portrait of Patricia Preece (on loan from Southampton City Art Gallery) and a rarely seen self-portrait from Patrica Preece’s partner Dorothy Hepworth.