Melanie Gerlis

Melanie Gerlis is the art market editor-at-large at The Art Newspaper and author of Art as an Investment

Why the sudden deregulation of New York's auction houses could lead to a more transparent art market—and a more opaque one too

With old codes now dispensed of, my hope is to lobby for new oversights that could enforce stricter and clearer rules

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In a guaranteed market, buyers and sellers crave the unpredictable

The recent London auctions suggested a market of extremes, with some seeking the safety of guarantees and others speculating on works by young stars on the rise

Has the art market recovered? A deep dive into the Art Basel/UBS report

Plus, an exhibition about wartime hideouts in Poland and Ukraine, and Mondrian’s final work Victory Boogie Woogie

Hosted by Ben Luke. with guest speaker Melanie Gerlis. Produced by Julia Michalska, David. Clack, Aimee Dawson and Henrietta Bentall
Sponsored byChristie's
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Will new code of conduct make collectors more ethical?

A new code aims to introduce more transparency to the business of buying

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How canny auction houses and advisory firms are turning a generation of Amazon shoppers into art collectors

The middle market, traditionally the art world’s unloved child, offers treats galore

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Art is now accepted as a financial asset, but it is still a questionable investment

It is now normal to consider art a bankable asset—for the very wealthy at least—but the art market is too volatile and risky for most investors

Art fairs: how did they begin and where are they going?

Plus, Caribbean-British art at Tate Britain and Marco Brambilla's VR work at Pérez Art Museum in Miami

Hosted by Ben Luke and Aimee Dawson. With guest speaker Melanie Gerlis. Produced by Julia Michalska and David Clack. With Henrietta Bentall
Sponsored byChristie's
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Artists wield the power now: why Simone Leigh's departure from Hauser & Wirth (to join Matthew Marks) is indicative of a broader trend

As the whole art world starts to question traditional norms, the artist said she was "still figuring out what I want from a primary gallery relationship"—time will tell if she has now worked it out

Booksfeature

Book extract | The highs and lows of art fairs

In this extract from her new book, The Art Fair Story: A Rollercoaster Ride, Melanie Gerlis examines the trajectory of these art world events, from the post-war European model to the global behemoths of the 21st century

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Fairs get an A-plus for enthusiasm while auction houses receive a B for initiative (but a D for digital art): an art market half-term report

The commercial art world came back with a vengeance in September, but issues around sustainability and volatile prices still abound

Is Paris really taking London’s art crown?

Plus, Marlene Dumas at the Musée d'Orsay and Christian Boltanksi remembered

Hosted by Ben Luke. with guest speaker Melanie Gerlis. Produced by Julia Michalska, Aimee Dawson and David Clack. With Henrietta Bentall
Sponsored byChristie's
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Women in the arts are winning the battle for equal employment—but they haven’t yet won the war

The latest UBS Art Basel report finds that top jobs are finally going to women—even at the mega galleries

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Choose your unicorn: why angel investors are ploughing millions into art startups

Tech-led art businesses are starting to attract venture capitalist funding, with the NFT platform MakersPlace recently gaining $30m investment

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Why the art market must stop trying to predict the unpredictable and enjoy a well deserved #hotgirlsummer

Life is still uncertain but we know the industry can keep functioning against all odds through the pandemic, so enjoy the sun and save the questions for the autumn

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Livestreamed or IRL, gallery weekends or satellite spaces—the art market faces a paradox of choice

Thanks to the pandemic, we have many alternative ways to buy, sell and enjoy art, and now this genie is out of the bottle, we don’t want to put it back

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Jobs for the boys…why I'm starting to feel old amid the new art world order

The thrusting land of NFTs and tech nomads favours the young—and has yet to shake off the old ties of nepotism

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In our current dystopian art market, the pervasive and persistent Damien Hirst may well have the last laugh

The British artist has had a bumpy boom and boost history when it comes to sales, but his ubiquitous brand makes him a safer bet in uncertain times

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The world of art fairs is going to change for good—and only the better-funded fairs will survive

From hybrid online ventures to new subscription models, mass events in the art world won't look the same post-pandemic

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A Covid-19 silver lining? Let’s not return to family-unfriendly art business as usual

The industry could work better for mothers and fathers if it doesn’t go back to the out-of-hours, out-of-town way things were

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Pastures new: why some top gallery staff are moving on from longtime jobs

Without art fairs and hectic travel, the pandemic has transformed the way most of us work—and some are branching out rather than returning to their old lifestyle

Frieze: the show goes on. Plus, Theaster Gates

It’s Frieze Week in London, yet there’s no big art fair at its heart. Can galleries create the usual excitement—and is anyone still buying?

Hosted by Ben Luke and Linda Yablonsky. with guest speakers Louisa Buck and Melanie Gerlis. Produced by Julia Michalska, David Clack and Aimee Dawson
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Gatherings are taboo in the Covid-19 world, so where does that leave experiential art?

New venture Superblue aims to attract younger audiences by selling tickets for immersive events, but its model is at odds with a socially distanced society

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No rest for the frazzled for many in the art world

As galleries and auction houses slowly awaken from lockdown (some of them, at least), this summer will be one of work, not rest

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Who are the art market's virtual winners?

As digital fatigue sets in, a little editing goes a long way with online viewing rooms—and sometimes a humble PDF with a few human touches makes a welcome break

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How Covid-19 has forced the art market’s speedy digital conversion

In lockdown, many galleries have had a Damascene moment with online programming

Patrick van Maris is leaving Tefaf after five years: but has he left the fair in too much flux?

In an increasingly competitive, mixed-category art fair environment, the president of the Dutch fair group made everyone apply each year

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Condo’s grassroots collaborative spirit is infectious

The London gallery sharing initiative feels like a significant step in a healthier direction

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The complicated history of Boccioni sculpture is no barrier to record price at Christie's in New York

Futurist bronze sculpture cast from another bronze in the 1970s sells for $16.2m—four times its estimate

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Hong Kong art market profits despite protestors’ pain

If not immune to geopolitical unrest, then perhaps art is a refuge for money that is struggling to find its way into other assets

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New York's Future Fair is a worthy idea—but there are flaws in its model

Despite its commendable 'galleries-first' mindset, the scheduled fair's profit-sharing programme is not as revolutionary as it might seem