Asking Australians about their favourite art and artists reveals divides between those who like traditional versus contemporary forms. But Indigenous art transcends such categories.
The National Gallery of Australia is facing a 10% reduction in staffing, but will maintain its $16 million acquisitions budget.
The Art Market 2020 report reveals the global art market was worth US$64.1 billion in 2019. But with cancelled art fairs in Hong Kong, Paris, Berlin and Dubai, what does 2020 hold for the market?
A new quarterly essay looks at changes in how we market Australian performing arts – but is this necessary in a globalised digital marketplace?
The first director of the National Gallery of Australia has died at 88.
Don't blame the global financial crisis. The Australian art market has performed poorly over the last decade - but there is plenty of growth potential.
According to a new study, a small portion of a site can yield thousands of objects, adding up to millions of dollars.
Researchers have found a way to reduce light damage to artworks by up to 47% by optimising LEDs to prevent light from being absorbed by the artwork.
What does Hockey's auction record for a living artist mean beyond the art market?
When artists destroy their works, it's usually to express their disdain for critics, dealers and curators. But does this get lost in the attention, hype and money that follows?
An algorithm named AICAN has been 'taught' the entire canon of Western art history – and now produces, titles and sells works of its own.
South Africa's government reneged on opportunities to cement artist Gerard Sekoto's legacy.
Salvator Mundi is the most expensive painting ever to be sold. It remains to be seen who bought it and where it will be kept.
Sales of antiquities legally excavated are just as ethically problematic as those likely looted.
His rise was just as swift as his fall. To mark the painter's 100th birthday, an art historian explores the forces – cultural, political and personal – that created a polarizing legacy.
Rose Skinner opened her Perth gallery in 1958. But her contribution to the art world has been skimmed in Christopher Heathcote's recent look at Australia's early art market.
Art events should encourage us to spark new thinking outside of our cloistered world, but Berlin risks being lost in technological navel gazing.
Profit estimates have ranged from $4 million to $7 billion. But with the Paris attacks costing only $10,000, does a number even matter?
Does it matter that money plays such a big role in festivals like Cannes?
The Melbourne Art Fair's steadfast refusal to move with the times was a factor in its surprise demise.