Jane Kallir

Art marketcomment

'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

Art marketcomment

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

Art marketcomment

'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

Nazi lootcomment

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 marketcomment

Art authentication is not an exact science

The process of art attribution has come under attack, with forgery scandals rampant

Art marketcomment

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

July 2007archive

Comment: the problem with a collector-driven market

There is a danger that money will trump knowledge, observed the New York dealer in 2007