Art marketcomment

The 'Ledbury Titian' discovery begs the question: who should we trust when it comes to art attribution?

We often overlook gaps in provenance, or disagreement between experts, simply because we want to believe in fairytales

Freelance workers are the backbone of the art world—but how are they expected to survive on a pittance?

If culture is to recover from the pandemic, the sector must value the self-employed more so that the next generation—of all backgrounds—can afford to live a creative life


Tearing down troubling statues is not lying about our history—it is removing impediments to truth

The UK communities secretary Robert Jenrick's plans to prevent the removal of controversial monuments reveals his inability to view the past as shifting and complex


'Museums had better not be planning for a return to the status quo'

If institutions keep admission limits in place, they’ll come out of the coronavirus crisis in better health, says art critic Blake Gopnik

Art marketcomment

Bubbles, sheikhs and the freeport frenzy: Georgina Adam reflects on 30 years of art market reporting

Our art market editor-at-large looks back on three decades of booming sales and soaring prices, from Middle Eastern emergence to the evolution of auction houses

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

Auctions are like dating: you can do it online, but sparks only fly in the flesh

The coronavirus lockdown is boosting lower level virtual sales, but only a major live auction will kick-start the top end of the art market and revalidate prices

As The Art Newspaper turns 30, the question is—will the A-word survive?

"Art" is a loaded term, freighted with associations of class and power


'Marmite' Boris Johnson or 'deep cuts' Jeremy Hunt—which would be good for the arts?

The former UK minister for culture, Ed Vaizey, weighs in on which of the two candidates for prime minister would best serve the arts

A collection of 50 contemporary artists’ favourite works of art

Book looks at what they like and how they think it helps their own work


A crisis of faith: is Big Data the art world’s new religion?

The rise of Big Data means that connoisseurship is being replaced by "intel", which has far-reaching implications for the art world

Are we worried enough about the planet to give up jetsetting to art fairs?

A truly environmentally friendly art world requires that we give up the 'freedom, privilege and progress to which we are so accustomed'

Notre Dame abounds in the collective artistic imagination

Matisse's 1900 painting of the gothic cathedral risked taking on elegiac significance before the fire was extinguished


'Hong Kong is free—on paper'

Certain subjects have become off-limits—but no one knows exactly what can or cannot be discussed

Art in sensitive times

In the face of turbulent times the public art museum has a difficult, but essential role to hold open an open space for dissenting experiences of art and culture

Vik Muniz: My advice to fellow artists in the face of grim political times

Brazil’s cultural sector must respond to hard-right politics by reconnecting with the wider community

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

The sidelining of arts education in England is seriously out of step with our times

While this year's A-level results show a rapid decline in arts subjects in the UK, countries outside of the West are stepping up teaching of creative subjects


Traffic believes the US and UK ivory sale bans are ‘vital elements in the international response’ to poaching

The official spokesman of the wild-trade monitoring organisation responds to The Art Newspaper's article on the trade in elephant ivory—and we respond to him

Rapper pays $18.5m for work at auction but the artist gets nothing—is the system in need of reform?

Anny Shaw asks if auction houses and dealers should pay their dues to the artists from whom they profit


Sydney’s flagship museum is entirely focused on building a costly extension. Why?

Unless the Art Gallery of New South Wales begins to focus more on exhibitions, there is every reason to believe that Sydney Modern will be a gigantic and costly flop

Why the French can sell arms and culture to Saudi Arabia, but the US and UK only arms

France's latest deal with the Kingdom reveals the close connection between culture and foreign affairs

Auction houses must share the blame for university sell-offs

Christie's sale of 46 works from La Salle collection will diminish the museum and its academic programme

What does a $450m Leonardo mean for the Old Master market?

Slick marketing produced stupendous sale price for Salvator Mundi, but it sparked revulsion as well as elation


Forget the issue of an artist’s Native American bloodlines

It’s time to stop letting the controversy over Jimmie Durham’s ancestry overshadow his art


Can the cultural self-harm of Brexit be limited?

Britain will pay a high price if its creative industries are ignored in negotiations to leave the European Union

Protest is one thing, destroying art is another

Sam Durant’s Scaffold is a powerful work that should provoke anger about the death penalty, not the artist’s ethnicity

Fake heritage for the fake news era

Damien Hirst’s exhibition in Venice this summer is part of a long tradition of counterfeiting history—but the UK artist has added a contemporary twist

Now is the time for an Italian-American museum exchange programme

With Italy’s historic reform of its museums’ leadership at risk in the courts, what we need is a more collaboration not less

Olafur Eliasson: ‘There is ultimately no space in which art cannot work’

An exclusive extract from a new book about the ideas and practice of Studio Olafur Eliasson places projects including Ice Watch, Green Light and Little Sun into a bigger context

Creative workshop is just the job for Venice Biennale

Project helping migrants and refugees would be diminished if it was a sideshow

Why try to fix the Turner Prize when it ain’t broke?

There is a downside to dropping the age limit of 50 for qualifying artists

Positive news from Egypt

A former minister of antiquities’ statement that ancient artefacts legally exported should stay abroad is a welcome change in attitude

The healing power of great buildings comes at a price

Leading architects can help to revive a city’s image but cultural institutions need long-term support to shine brightly


What happens when the identity politics of the Left meet up with the racial isolation of the Right

The controversy over Dana Schutz's Open Casket is like a scene depicted in another of her paintings: a fight in an elevator with worn cables


Comment: Is expertise at risk at the Victoria and Albert Museum?

The world’s greatest museum of decorative arts has been without a ceramics expert since 2016 and other gaps in knowledge are opening up


Comment: Scholarly research is flourishing but curators’ ability to judge an object’s quality is not

Why museums are falling victim to fakers: expertise is undervalued and in decline

Remembering the ghost soldiers of the Somme

As an exhibition of photographs of Jeremy Deller’s project We’re Here Because We’re Here begins its tour of the UK, Jenny Waldman reflects on how this modern memorial caught the nation’s imagination


Federal arts funding is on the White House’s hit list

If culture agencies dodge the fatal bullet, they should focus on collection-sharing and investment in bricks and mortar

Local collections should be nationalised to halt sell-offs

A stroke of a ministerial pen saved Liverpool’s collections 35 years ago—the same needs to happen again

Zanzibar cathedral restoration shows past can unite rather than divide us

Project to repair Anglican building brought Muslims and Christians together

We turn our back on expertise at our peril

Expert opinions concerning attribution and authenticity are fundamental to art history

Why Brussels is not the new Berlin

Belgian capital is being hyped as the next big art hub but it still lacks a proper "scene"

Artists should give proper credit to Hollywood

Jordan Wolfson’s sculptures depend heavily on special effects studios

Why I like Art Abu Dhabi more than Art Basel in Miami Beach

The conversations are better, the public is enthusiastic, and there is enough, but not too much art—and it’s good

Why ratifying the Hague Convention matters

After years of delay, the UK government is on track to become a world leader in wartime heritage protection

Museums are the diplomats of the 21st century

Why a show in Berlin of Tehran’s superb collection of Modern art is a crucial part of Germany’s foreign policy

Each Tate gallery needs its own director not just a chief curator plus

Devolution or even independence could create a stronger Tate Modern and Tate Britain after Nicholas Serota’s departure

Axing art history in schools devalues our cultural life

The plan to scrap the A-level examination is disastrous and must be challenged

Light or shadow for photography at the V&A?

The Royal Photographic Society’s collection needs a strong advocate within the museum if ambitious plans for its future are to be realised by Martin Roth’s successor

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