Market forces still at work: why we need to look to our past to understand our future
Our first collection of archival stories looks at the major financial shifts and trends that have impacted collectors and those in the trade since 1990—and continue to be relevant today
How to beat the recession: cut costs, slash prices, don’t lie and be creative
During the Great Recession in 2009 we reported that gallerists must act "quickly and brutally" in order to survive
Interview with economist William N. Goetzmann: 'The financial and the art markets do not crash at the same time'
In 2001, the Yale professor attributed the one- to two-year lag between crashes to the time it takes to liquidate assets
'The art trade is the last major unregulated market'
Is it time for reform? Murky dealings came to light in 2005 as more collectors began to enter the scene—and brought their cases to court
How the internet will change the art market: the new kids on the block are smarter than you think
The advice on how to be successful in the online world offered here in 2000 centred on building a community and having a shared sense of purpose and trust
A guide to bad times: why the market downturn is good news for true collectors
We observed that while the market was feeling fragile during the 1991 slump, fortunes have a way of turning around
Who will follow baby boomers into the art market?
Demographic change is probably the most important factor in shaping the market's future, wrote this expert in 2011
Regulation guidelines are an ‘impossible dream’
Some think the trade was more concerned about the risk of losing sales than its reputation, observed our editor-at-large in 2015
Comment: it’s the economy, stupid—and the art market is no longer immune to its vicissitudes
While the 2008 global financial meltdown largely failed to dent sales, in 2015 our editor-at-large warned that the falling oil price experienced at the time could prove much more serious
Flipping art: filthy lucre or a sound business plan?
In 2014 we noted that market speculation can offer rich rewards, but in the long term, it may do collectors more harm than good
Jerry Saltz: 'The market is a place to support junkie-like behaviour in public'
The New York critic discussed the recession, likeability and why the market is like magic mushrooms in a 2008 panel
Market predictions for 2012: the outlook is mixed
Tough times lie ahead for galleries, but auction houses and art advisers could continue to prosper this year
Gian Enzo Sperone: 'The nature of the art market has changed for ever'
The Italian dealer and co-founder of Sperone Westwater spoke to us in 2011 about botany, the difference between European and US galleries and why the "big gallery" systems won't last
The market bounces back from the recession as big-ticket works sell for big-bucks
But despite strong headline sales, missed estimates and cautious collectors signalled that 2010 would not be a return to the wild days
Court battle fuels calls for less art market secrecy
In 2010 we wrote that the lines were drawn between those who favour openness and others who prefer “handshake” culture
Why do certain works still set auction records during recessions
We noted in 2010, amid a painful global downturn, that a Picasso nude carried the largest pre-sale auction estimate in history at $70m to $90m
Could the art market be undergoing a fundamental restructuring?
2010 will be a year of continued reshaping
How did the financial downturn impact the market for brand-name artists like Hirst and Murakami?
Both have adopted marketing strategies more typical of luxury goods firms than artists. In 2009 we looked at their market history
Mortgage crisis and resulting stock market plunge be damned—the party isn’t over yet
In 2007 we noted that strong sales at auction and fairs and more money coming from Russia, Indian and Chinese collectors indicated that confidence in art remained strong
Dave Hickey: 'If you want to be an icon of virtue, this is the moment because you’ll stand out'
The outspoken cultural critic and art historian shared his thoughts on the market during a talk at Frieze art fair in 2007—here is the transcript
Comment: if the hedge funders ditch art, new buyers will emerge
In 2007 the economist James Sproule examined the risks facing the market—and the good news was it was not all doom and gloom
Comment: the problem with a collector-driven market
There is a danger that money will trump knowledge, observed the New York dealer in 2007
It’s definitely a bubble, but when it will burst is anybody’s guess
The veteran dealer Richard Feigen on the state of the art market in 2007
The problem with art advisers
In 2007 we observed that while most are seen as opportunistic shoppers, some are as knowledgeable as museum curators
Comment: why an art market clean-up would be a clear-out
In 2007 the creative industries consultant noted that the “insider” aspect of the contemporary art market and hierarchy of knowledge and status that it creates was a significant part of its attraction
Why you cannot trust dealers’ prices—or auction results either
In 2006 we reported that attempts to accurately measure the market are being thwarted by auction guarantees and private sales between tight-lipped collectors
How long can this amazing art market boom last?
In recent years have seen works sold for explosive prices—and now in 2006 we are asking if this an indication of an accelerating trend or a reflection of the cyclical nature of the market?
Comment: droit de suite in the EU is bad for all art markets—and the artists it is meant to help
The British Art Market Federation chairman on Artists' Resale Right representing a serious challenge to market competitiveness in 2005
1991-2001: a mini-guide to a decade in the art market
From a game-changing Japanese scandal to price-fixing at the world's leading auction houses, we look at the most significant developments over the past ten years
Eight leading market figures on what the next recession will mean for the art world
In 2001 they predicted that some areas such as the Old Master market will remain stable but that trendy art would lose its zip
Former Christie's director launches online venture eAuctionRoom.com
“We are a technology platform, not an auction house,” said Mark Poltimore in 2000. The onetime auction boss wants to make European sales more accessible to US and UK audiences
Is another bubble about to burst in the fine art market?
In 2000 we noted that single-owner collections sent prices spiralling upwards which was good news for the salerooms, but disastrous for museums with dwindling budgets
Are auction houses creating a bigger market for all or squeezing out the competition?
In 1998 we reflected on Sotheby's and Christie's recent move to sell cutting edge contemporary art as being a watershed moment