'Don't fear recession—it could create the art market’s next revolution'
While auction houses and dealers are increasingly worried of a downturn, a look back to the 1970s and 1980s suggests that their anxieties might be unfounded
What’s the ideal post-pandemic art market? One that's no longer a Disneyland for the rich
Capitalism has gobbled up the art world over the past decade—it is high time for a reset
'We felt we had to make a choice and we chose scholarship': why Galerie St. Etienne went non-profit
Jane Kallir explains why, after 80 years as a commercial enterprise, the New York gallery has become a foundation
The elephant in the room: the rise of art-related lawsuits
Worthy causes can often disguise more opportunistic motives
Holocaust-era art restitution: more complex than you think
A rush to judgement has resulted in notable errors, with some "Nazi-looted" art having been purchased legally
Art authentication is not an exact science
The process of art attribution has come under attack, with forgery scandals rampant
The all-powerful market is sounding the death knell for connoisseurship
Today, art history is increasingly being written by dealers and auctioneers to suit their own purpose
Egon Schiele was not a sex offender
The 100th anniversary of Austrian artist’s death has arrived just in time for the #MeToo movement
What is art for? Jane Kallir tells us
Following the terrorist attacks in Paris, Beirut and Bamako, and as The Art Newspaper continues its debates in Moscow, the New York gallerist shares her thoughts on art's purpose, originally published after 11 September 2001
Comment: the problem with a collector-driven market
There is a danger that money will trump knowledge, observed the New York dealer in 2007