Sotheby's Institute of Art Viewbook by Sotheby's Institute of Art

Table of Contents 4

LETTER FROM THE PRESIDENT

7 WELCOME 8

THREE GLOBAL CAMPUSES

MANY PATHS OF STUDY

14 THE INSTITUTE EXPERIENCE 18 LONDON 26

NEW YORK

LOS ANGELES

34 CHINA 38

INTERIOR DESIGN

40 ONLINE 42 FACULTY 48

ACADEMIC TRAVEL

52 CAREERS 54 ALUMNI 56

HISTORY OF THE INSTITUTE

APPLICATION PROCEDURES

FREQUENTLY ASKED QUESTIONS

64 CONTACT

A Letter from the President

All artists are dreamers; they dream about success. That is why the history of art is also the history of patronage, and why the fabric of the art world is an inextricable interweaving of the creative process with its markets. Art history is made by artists in partnership with the people whose taste, judgment and passion for originality governs this special and infinitely complex marketplace. It is no accident that as early as 1432 Jan Van Eyck placed the donors Jodocus Vijd and his wife on the front of his great Ghent Altarpiece, or that he made their portraits the same size as those of the Virgin Mary and the Angel Gabriel. And though the symbiosis of artist, patrons and markets may have been expressed differently at different times, its fundamental dynamic has been a continuous and unbroken thread in the evolution of art in every culture. Today, with international art sales booming, this relationship is a more powerful force for creativity and aesthetic progress than ever before. That is why, at Sothebyâ&#x20AC;&#x2122;s Institute of Art, we believe it essential to educate professionals who combine art historical scholarship with market savvy, ingenuity and a profound belief in the power of art to change and enhance our lives. Of course, critics, curators and scholars have always played a role in determining the shape of the art world, but the plain fact is that commercial galleries and consumers have had an equal or even greater influence on its continued growth and change. Consider that the pioneering dealers Paul Durand-Ruel and his rival Georges Petit gave Impressionism its principal public platform in both Europe and the United States during the last quarter of the 19th century and were followed by Ambroise Vollard, who did the same for the post impressionistsâ&#x20AC;&#x201D;Gaugin, Van Gogh and Cezanne among them. The salons of patrons like Gertrude and Leo Stein, along with those of their friends Clarabelle and Etta Cone, dramatically helped validate the (then) avant garde artists Pablo Picasso, Henri Matisse and their circle, as did such later collectors as Duncan Phillips (The Phillips Collection) and Albert Barnes (The Barnes Foundation). With others like them, these artists, dealers and patrons redefined the trajectory of art in the 20th century! And though the cast of characters is ever-changing, the process continues unabated. Always an amalgam of aesthetic judgment and financial sophistication, todayâ&#x20AC;&#x2122;s art markets are more complex than ever. Those of us whose passion is art, whether historical or contemporary, and who wish to be counted among the influencers as its future unfolds around us, have a choice: we can become scholars and historians, watching from a distance, or educated and active participants in the rough and tumble of world art markets, artistic egos, high-stakes social protocols and the general excitement of being an integral part of creative history.

The mission of Sotheby’s Institute is to facilitate such an ambition, providing a platform of specialized knowledge and artistic judgment from which generations of new and successful professionals can enter the international art world as players, not spectators. Our programmes are not for everyone. They require dedication to the ideals of the creative process melded with a commitment to the realities of complex, evolving and volatile international markets. But the payoff for those who succeed is profoundly satisfying— a unique combination of personal fulfillment and economic rewards. If this is who you are and where you want to go, read the material in this book carefully and then come talk with us. We will be happy to tell you more so that you can determine for yourself whether a life in the international art world is for you and, if so, whether we can help you make it a reality.

—DAVID C. LEVY

“That is why, at Sotheby’s Institute of Art, we believe it essential to educate professionals who combine art historical scholarship with market savvy, ingenuity and a profound belief in the power of art to change and enhance our lives.”

Welcome to Our Global Institute

Since 1969, Sotheby’s Institute of Art has pioneered the edu-

Master of Arts and PhD degrees from the Institute’s London

cation of arts professionals whose careers have placed them

campus are awarded through the University of Manchester

at the centre of the international art world. With campuses

(UK) and combine professional education with academic

in London, New York and Los Angeles, Sotheby’s Institute

study. In London, a number of semester and summer study

offers graduate-level programmes and academic courses

opportunities are available as well, as are short courses and

that uniquely integrate art historical scholarship, market

executive education programmes. In New York, degrees are

expertise, and object-based learning. Through many paths

granted through the Regents of the State of New York and

of study, including our master of arts degrees and a range of

accredited by the National Association of Schools of Art and

online courses and programming in other cities across the

Design. The New York campus offers three graduate-level

globe, graduates of Sotheby’s Institute gain the knowledge

programmes as well as a range of summer study and short

and credentials needed for success in today’s worldwide art

course options. Our Los Angeles campus offers a master of

markets and cultural institutions.

arts in Art Business in conjunction with Claremont Graduate University’s Drucker School of Management.

As a leading international centre for advanced art education, Sotheby’s Institute of Art draws passionate students from all

We look forward to including you among the successful

over the world who are eager to study in the cultural capitals

graduates of one of our programmes at Sotheby’s Institute

of London, New York and Los Angeles. The Institute’s distinc-

of Art.

tive curriculum takes full advantage of each city’s vibrant art scene by emphasizing hands-on learning experiences outside the classroom. The cornerstone of the Institute’s curriculum is its dedication to object-based study, which

For further information about Sotheby’s Institute and all programme offerings, please visit sothebysinstitute.com or email admissions@sothebysinstitute.com.

is the belief that a true understanding of art in its historical, contemporary and market contexts begins with the work of art itself. This is enhanced by bringing students into direct contact with works of art through field study trips to museums, galleries, auction houses, and private collections around the globe.

London. New York. Los Angeles. Online.

Three Global Cities, One Global Online Community

Being an art professional means not only the ability to identify a Ming vase or a quattrocento painting but also to have an understanding of global art markets. An accomplished art professional can create a marketing strategy, construct a budget and install an exhibition. Researching an article, delivering a lecture or producing a professional catalog entry are also required skills. The acquisition of professional expertise, reinforced by scholarly knowledge, reinforces the basis of the unique learning experience at Sothebyâ&#x20AC;&#x2122;s Institute of Art. Our graduate-level programmes can be grouped into three distinct categories of study: art business studies, contemporary and critical studies, and object-based studies. Six MA programmes and a number of semester and summer study courses are offered in London, plus a number of short courses. The New York campus offers three graduate-level programmes plus short courses and summer study; one MA in Art Business is offered in Los Angeles on the campus of Claremont Graduate University. In addition to our global graduate-level programmes (and a variety of semester, summer, short course and executive education options), we also have an interconnected web of thousands online. Our Online Learning courses are tailor-made for those interested in learning more about the art world and they are a perfect gateway to our degree-granting programmes as well. For further information about the Sothebyâ&#x20AC;&#x2122;s Instituteâ&#x20AC;&#x2122;s global campuses, please visit sothebysinstitute.com/campus or email admissions@sothebysinstitute.com.

Many Paths of Study • LONDON • NEW YORK • LOS ANGELES • ONLINE • CHINA

MASTER OF ARTS • LONDON

• NEW YORK • LOS ANGELES

In each of the Institute’s Master’s programmes, students explore art from a range of social, cultural, economic, and object-based perspectives, while gaining a deep understanding of how international art markets operate. All MA programmes include travel to major fairs, exhibitions, museums and collections, where students can engage with artworks firsthand. The MA requires the successful completion of two semesters of study, plus a third semester for a research dissertation (Master’s thesis) or a third semester of coursework.* The dissertation will take one additional semester of independent study with appropriate supervision by the Institute’s faculty. The MA degree is supervised and awarded by the University of Manchester at the London campus.

POSTGRADUATE DIPLOMA (UK) & GRADUATE CERTIFICATE (US) • LONDON

• NEW YORK

For those students who do not wish to write a dissertation (Master’s thesis) or who do not meet the qualifications to do so, a Postgraduate Diploma (UK) or Graduate Certificate (US) is available. This option requires that same two semesters of full-time study that is required of MA students. The instruction and coursework is the same for diploma and certificate students as it is for MA students. However, the diploma and certificate students do not stay on for a third semester to complete a dissertation.

SEMESTER STUDY

• LONDON

These 14-weeks courses are designed for those individuals who have a keen interest in a specific subject or are exploring a career in the art world. Many of our Semester students are undergraduates, career changers, and current art world professionals wishing to gain additional skills. Semester courses can also provide the necessary foundation for applicants to the Postgraduate Diploma, Graduate Certificate or MA programmes who lack a sufficient art history background. Some can be taken on a part-time basis. Different courses 10

are offered in the autumn and spring semesters. Each combines academic study with an insight into the professional art world and takes full advantage of the rich cultural resources that London offers.

SUMMER STUDY • LONDON

• NEW YORK

Summer Study at Sotheby’s Institute of Art allows students to develop professional expertise, critical thinking skills, and enhanced knowledge of art and the international art market. Designed to accommodate all levels of interest in art history and the business of art, courses offer interesting and compelling insights into the art world and include lectures, guest speaker, and site visits led by Sotheby’s Institute faculty, international experts, and leading practitioners in the field.

SHORT COURSES

• LONDON • NEW YORK • CHINA

A variety of public programme short courses are offered throughout the year. Led by Sotheby’s Institute of Art faculty, international experts and leading practitioners in the field, these short courses may include a series of evening lectures, one- to two-day symposia, and one week courses. They focus on the art market, contemporary art, the decorative arts, and jewellery. Courses attached to leading art fairs are also included.

ONLINE COURSES • ONLINE Taught by leading experts in the field, each six-week online course provides a deep understanding of key concepts, and the ability to interact with students worldwide through a clean, simple e-learning interface. Organized into a logical sequence, the intensive and interactive courses include video, audio and image galleries in addition to readings and links to web resources. The academic structure of the class encourages each student to participate in the written discussions at any time throughout each weeklong segment. Course materials and discussions can be accessed 24 hours a day, 7 days a week.

EXECUTIVE EDUCATION • LONDON

• CHINA

Executive Education programmes in London and Hong Kong offer art professionals and career changers the opportunity to reach new levels of business management within the art world. Aligned with the Institute’s hands-on approach, participants gain the latest thinking in business management in the art world via lectures, case studies and visits to leading galleries. Invited speakers include both academic and business school faculty and renowned business leaders in the field.

DOCTOR OF PHILOSOPHY • LONDON PhD degree is offered jointly with the University of Manchester and can be completed in three years of full-time study. The PhD requires a dissertation based on original research. PhD is offered through the London Institute and applicants are requested to discuss their proposed PhD choice with the Registrar at the London Institute prior to applying. *The third semester of coursework is the only option for Los Angeles students. However, a third semester of coursework option is available to New York Institute students (at any campus) or for London students who wish to complete their coursework in New York (in lieu of the dissertation). Note: for London students who do a third semester in New York, the final degree is granted by the New York Institute. For further information about the many paths of study at Sotheby’s Institute, please visit sothebysinstitute.com/ manypaths or email admissions@sothebysinstitute.com.

Sothebyâ&#x20AC;&#x2122;s Institute students at a handling session in London

The Sotheby’s Institute of Art Experience

HANDS ON A unique approach to learning. For over forty years, an object-based approach to teaching has been a distinguishing feature of Sotheby’s Institute of Art and a cornerstone of its programmes. Students learn through hands-on examination of works in galleries, museums and private collections in Europe, the United States and Asia.

OPPORTUNITY Internships at Sotheby’s. Sotheby’s internships offer the opportunity to gain a better understanding of how an auction house works, how art is managed in commercial environment and how the auction market relates to the broader world of art business. All full-time students at Sotheby’s Institute of Art are offered the opportunity to apply but there are a limited number of internships and admission is highly selective.

GLOBAL International student body. Sotheby’s Institute of Art is a leading international centre for art education, where people come together from all over the world to engage passionately with art. In our locations—London, New York, Los Angeles and Online—students come from many countries, including the US, the UK, Canada, China, Korea, Japan, Italy, Germany, Spain, South Africa, Australia, Russia, Brazil and India for a truly multicultural learning experience.

PROFESSIONALS Faculty comprises noted scholars and practitioners in the art world. The programmes are taught by highly respected scholars. The combination of expert faculty, visiting professors, and specialist lecturers provides students with a breadth of knowledge and experience as well as an opportunity to develop a network of professional relationships. Faculty members offer guidance in both academic and career-related subjects. Teaching styles facilitate a close working relationship with students, and there is frequent contact in the classroom and during office hours. Study visits and seminars take place in smaller groups, and allow for close viewing of artworks and additional discussion.

IN CONTEXT Travel to European, American and Asian art centres. Many of the Institute’s graduate-level programmes include travel to major art fairs, exhibitions, museums, and collections in Europe, the Americas, Asia and the Middle East, depending upon the programme of study. This allows students to see and experience art and objects in their historical context and to grain regional knowledge of particular areas of study.

SCHOLARSHIP The University of Manchester, the New York State Board of Regents and Claremont Graduate University.

NETWORK Professional education for careers in the multi-billion dollar international art world. All of the Institute’s programmes are designed to prepare students for a career in the international art world. The Institute also works with students to help the find art-related internships at auction houses or in galleries, museums and other art institutions. Study programmes and internships provide invaluable experience and lead to professional contacts. Alumni provide an extensive network of curators, museum executives, dealers, gallery owners, and practitioners holding art-related positions in insurance, consulting, publishing, arts marketing and arts administration. Graduates of the Institute are invited to become members of this distinguished alumni community, which offers extraordinary access to professionals already active in the art world. The Institute’s career services staff also offers counsel and guidance in defining aspirations and in the pursuit of employment goals.

The University of Manchester is the validating agency for all graduate degrees at Sotheby’s Institute of Art – London. The University’s Department of Art History is among the prestigious in the UK. New York’s degrees are validated by the New York State Board of Regents, an accrediting body with a history dating back to 1784. And our joint MA in Art Business programme in Los Angeles is offered through Claremont Graduate University, the oldest all-graduate institution in the United States.

London London is an historic nucleus of the international art and antique markets. It is a global centre of learning and is known world-wide for the importance of its visual and performing arts. With an historic address at 30 Bedford Square, the Institute’s London campus is located in the heart of Bloomsbury as part of the broader “academy” that includes the British Museum, the Architectural Association, and the Paul Mellon Centre for British Art.

MASTER’S DEGREE AND POSTGRADUATE DIPLOMA

history of contemporary art alongside artists and tendencies that have in the past received less attention in the traditional centres of the art world. Students participate in seminars,

MA IN ART BUSINESS

lectures, and study travel around London and other Euro-

David Bellingham, Programme Director

pean cities where they visit major collections, galleries and

Iain Robertson, Head of Art Business Studies

biennials. In the gallery and in the classroom, attention is paid not just to art works but to the curatorial strategies that di-

London is at the centre of the global art and antiques market,

rect our experience of them and the institutional contexts in

where dealers trade in British, European, Asian and Indian

which they are displayed. Graduates benefit from the global

art. This $60 billion plus industry employs hundreds of thou-

scope of the programme and pursue a variety of careers in

sands of professionals in small and medium-sized business-

the world of contemporary art.

es as well as a number of large enterprises including auction houses, galleries, investment banks, insurance companies

MA IN FINE AND DECORATIVE ART

and other specialist service suppliers to the market. The Art

Chantal Brotherton-Ratcliffe, Programme Director

Business programme in London is not a business degree but rather a degree in the business side of art. It is designed for

The Fine and Decorative Art programme in London is taught

students with an art historical background who want to un-

from the perspective of an art expert, with attention paid to

derstand business theories and practice, as well as the tech-

the history and practice of connoisseurship. This programme

nical and structural elements of the art market. An important

has been offered in London for over forty years and is based

theme of the programme is its analysis of a wide range of art

on the Sotheby’s auction house’s original training scheme.

market sectors. Students learn how to evaluate and market

The programme’s approach is object-based and often

art objects from antiquity to the present day and participate

object-specific. Case studies in Old Master paintings, modern

in a large number of visits to commercial and public galleries

art, furniture and ceramics from the Renaissance to the pres-

and other art institutions in London, throughout Europe and

ent day form the core curriculum, along with the develop-

other cultural centres internationally.

ment of professional skills for attributing and cataloguing works of art, culminating in the House Sale project, which

MA IN CONTEMPORARY ART

closely mirrors the auction house environment. The defining

Anthony Downey, Programme Director

characteristic of this programme is its frequent and regular visits to museums and galleries, the auction house, and

The Contemporary Art programme in London covers the pe-

country-house collections for first-hand observation of art

riod from 1960 to the present and is directed at students who

objects. The visual and hands-on approach, supported by a

wish to develop an in-depth understanding of contemporary

thorough grounding in materials and techniques, gives a firm

art while honing their professional skills. It focuses on the

foundation for postgraduate research and the excitement of

art object itself, which is examined in relation to its cultural,

exploring the material culture of the past.

institutional, and political contexts. From the beginning, students study canonical figures and major movements in the 19

MA IN CONTEMPORARY DESIGN

Asian art field. Graduates go on to pursue a variety of careers

Lis Darby, Programme Director

within the academic, museum and auction house world as well as opening their own specialist galleries. Handling ses-

The Contemporary Design programme combines academic

sions and study visits include visits to major collections in

study of 20th-century and contemporary decorative arts

London and Germany as well as a longer study trip to East

with an exploration of the professional design world. Fur-

Asia.

niture, ceramics, glass, patterns, metalwork, jewellery and dress from the Art Nouveau period to the pluralism of the

MA IN PHOTOGRAPHY

present day are examined in relation to architecture and inte-

Juliet Hacking, Programme Director

riors and wider theoretical and contextual issues. The interrelationship between the fine and decorative arts is a strong

The photography programme offers an in-depth study of the

theme throughout the programme. The course promotes an

history of photography, its place in cultural, critical theory,

object-based methodology and the development of visual,

and its significance for modern visual culture. Students are

analytical and interpretative skills that are relevant to a range

introduced to the critical analysis of the history of photog-

of careers. Visits to museums, houses, galleries, auction

raphy from the earliest experiments to the most recent de-

houses, design fairs and studios, together with study tours to

velopments. The focus is upon photography as an aesthetic

Paris and the Netherlands, provide opportunities to examine

practice, with additional study of applied photography such

objects first hand and to assess the market for 20th century

as police records and advertising images. The increased

and contemporary design. Throughout the programme,

presence of photography in public and private collections

contact with practitioners in the field introduces students to

and the art market is one strand of investigation; photogra-

aspects of the professional design world.

phyâ&#x20AC;&#x2122;s role within the politics of representation is another. The core timetable is supplemented by lectures by distinguished

MA IN EAST ASIAN ART

guest scholars and experts as well as study visits to muse-

Anne Farrer, Programme Director

ums and galleries, art fairs and private collections. Graduates go on to pursue a variety of careers, often within the photo-

The art history of China, Japan and Korea from the Neolithic

graphic gallery and auction network or the contemporary art

to the present day is the focus of the East Asian Art pro-

world.

gramme, designed for those who wish to become Asian art specialists. The programme offers an art historical training in key features and concepts, encouraging students to make cross-cultural links in the art history of East Asia. The programme takes an object-based approach and is organised into three strands: ritual and religious art, decorative art, and pictorial art. One unique aspect is the additional knowledge of auction house, art market, museum and gallery practices which equip students for professional careers within the 20

For further information about the Masterâ&#x20AC;&#x2122;s Degrees on offer, please visit sothebysinstitute.com/masters or email admissions@sothebysinstitute.com.

London Institute, continued

SEMESTER STUDY

and the European opening-up of trade with China and Japan

ART AND BUSINESS

with a review of contemporary art and its markets in India,

from the 16th to the 19th centuries. The course concludes Iran, Southeast Asia, China and Japan.

This intensive course is designed for those who are interested both in art history and the business practices of the art

FOUNDATIONS OF WESTERN ART

world. Through lectures and visits to specialist museums and collections, students are introduced to the history of art and

In this course students explore the history and development

design and the ways in which art has been made, sold and

of art in the western world from ancient Greek beginnings to

collected. The business component of the course starts with

the present day. Students acquire a sound understanding of

fundamentals and examines the history, management and

key stylistic developments, methods, materials and tech-

legal ramifications of both public and private art organiza-

niques, and they investigate the worlds of artistic produc-

tions, and the international art market and its workings. Stu-

tion, patronage and consumption in successive centuries.

dents explore legal issues related to the art market and the

The course also gives considerable attention to the broader

relationship between contemporary management theories

social, political and cultural contexts which defined the shape

and the art world. Established and emerging markets also

of artistic achievement across a very long period. The course

are considered. The course offers practical skills connected

is introductory but intensive, and requires no prior knowledge

to accessing and analyzing art market data.

of the field. It is suitable for students interested in acquiring a strong foundation in western art history. It also serves as a

ARTS OF ASIA AND THEIR MARKETS

gateway course for students with an undergraduate degree in a subject other than art history who may be consider-

This course explores in survey fashion the artistic products

ing applying for a postgraduate programme at Sothebyâ&#x20AC;&#x2122;s

of the leading religions and philosophies of Asia, from Islam,

Institute.

Hinduism, Jainism and early Buddhism in India, Southeast Asia and the Islamic World, to Daoism, Confucianism, Shinto

DECORATIVE ART AND DESIGN

and Mahayana Buddhism in China, Korea and Japan. Focusing on sculptural and architectural work, the course offers

This course combines an examination of the historical and

students introductory yet intensive object-based study. It

stylistic development of Western European decorative arts,

also provides associated contextual learning, investigating

design and interiors of the early 17th century towards the

themes such as court life of the Indian and Persian sultan-

end of the 20th. It is particularly suited for those who wish

ates and the Mughals; civil and military East Asian court life;

to gain a working knowledge of the decorative arts, and of

20th-century design, and for students interested in interior

intensive course is aimed at students seeking to experience

design. The decorative arts and design are studied in relation

the art scene in London at close quarters and to learn about

to architecture and interiors as well as in their wider social

the wider historic and cultural implications of contemporary

and historical context. Lectures, visits and seminars address

art in context, perhaps with a view to working in the field or to

varied study areas, including increased European 17th-cen-

pursuing further study of the subject.

tury consumption and the dissemination of taste, the court art of Louis XIV, the development of porcelain at Meissen and Sèvres, the influence of trade with the East, and the renewed

EUROPEAN DECORATIVE ARTS

interest in antiquity towards the end of the 18th century.

Beginning in the late 17th century, with the rise of Baroque,

All courses are examples of what may be taught. For further information about the Semester in London programme on offer, please visit sothebysinstitute.com/semester or email admissions@sothebysinstitute.com.

comprehensive and engaging course provides a strong un-

SUMMER STUDY ART AND ITS MARKETS

and culminating in the Post-War Modernist movement, this derstanding of key stylistic trends in design and the decorative arts. The course focuses on furniture, ceramics, glass and metalwork, explored within the context of architecture and interiors and the broader historical and cultural forces that have influenced the production and consumption of decorative art objects.

ARTS OF ASIA This course provides an introduction to the international art market. While focusing on several art market sectors, the

This course explores the diverse arts of Asia from their

course offers an understanding of how these perform under

origins until the present day. The final week focuses on the

differing market conditions. Students gain insight into the

turbulent but exciting period after 1900 and culminates with

mechanics of auction houses and the roles they play in the

contemporary art, enabling students to develop a better

art market in general.

understanding of the region’s key contemporary artists.

CONTEMPORARY ART IN LONDON

All courses are examples of what may be taught. For further information about the Summer Study in London programme, please visit sothebysinstitute.com/summer or email admissions@sothebysinstitute.com.

London is one of the world’s most vibrant centres of contemporary art. Full of enterprising galleries and artists’ spaces that have burgeoned across the capital, it has attracted artists of many different nationalities to live and work here. This

London Institute, continued

SHORT COURSES

EXECUTIVE EDUCATION

CORPORATE COLLECTING

PRACTICAL GUIDE TO STARTING AN ART GALLERY

Corporations around the world have various motivations for

(London)

investing in art and have adopted numerous strategies for building their collections. This course examines the back-

This course provides practical training in starting an art

ground of corporate collecting, the cultural, economic and

gallery today. The intensive course addresses art market

emotional factors which determine it, and seeks to identify

dynamics and the technicalities of establishing a business,

examples of successful return on investment.

including legal, financial and operational aspects, as well as key issues in growing a business. Guided by gallery founders

FOUNDATIONS IN HISTORY OF ART This intensive short course provides a basis for the analysis and interpretation of Western Art, from the Renaissance until 1914. Chronologically organised, and highlighting key works, painters and movements, lectures will be complemented by special visits to London galleries and museums. The course provides a foundation in the history and developments of art and is designed as a refresher for art professionals and those who are interested in art interpretation.

ART & FINANCE IN A GLOBAL MARKET With the ever-increasing interest in investment in fine art, this timely and informative course explores the use and performance of fine art as a financial asset. The course facilitates discussions regarding what a painting is worth and why, if a work of art can be used as collateral and how buyers should approach “investing” in art. Participants gain an understanding of how fine art maintains its value over time, learn about the varying collect-

and directors, participants have the opportunity to build valuable relationships and networks in the art world.

BUSINESS MANAGEMENT IN THE ART WORLD (Hong Kong and London) This intensive course addresses key issues of business practice within the art world such as strategy, marketing, financial management and operations, as well as governance and leadership. Aligned with the Institute’s hands-on approach, participants gain the latest thinking in business management through lectures, case studies and practical sessions. Speakers include both faculty and renowned business leaders in the field. The course is designed for those who want to enhance their competitive edge in today’s art market. All courses are examples of what may be taught. For further information about the Executive Education in London, please visit sothebysinstitute.com/shortcourses or email admissions@sothebysinstitute.com.

ing categories within fine art and observe how an art investment compares with other types of financial investments. All courses are examples of what may be taught. For further information about the Short Courses in London, please visit sothebysinstitute.com/shortcourses or email admissions@sothebysinstitute.com.

New York New York City is an intellectual melting pot with a world focus for the visual and performing arts and is a vital hub of the international art market. It is home to one of the largest concentrations of art in the world with a vast network of museums, galleries, private collections, auction houses and other cultural resources. The Instituteâ&#x20AC;&#x2122;s primary teaching facility is located in midtown Manhattan within walking distance of the Museum of Modern Art and many other leading galleries and museums.

MASTERâ&#x20AC;&#x2122;S DEGREE AND POSTGRADUATE DIPLOMA MA IN ART BUSINESS Mary Rozell, Programme Director

ephemeral work. Course work is delivered through lectures, seminars, and site visits to galleries, museums, studios, art fairs and private collections throughout New York City and other cities nationally and internationally. This dynamic programme prepares graduates to pursue a variety of careers in the art world, from working in commercial galleries, private

While grounded in art history, the Art Business programme

collections, museums and foundations, to establishing in-

in New York is designed for students who seek an alternative

dependent galleries, working as curators, appraisers, critics,

to the traditional academic model and desire advanced study

editors, and more.

in sync with the rapidly evolving global art market. Particular emphasis is placed on the nature and growth of art and art

MA IN AMERICAN FINE AND DECORATIVE ART

business practices post-World War II to the global business

Jonathan Clancy, Programme Director

that art has become in the early 21st century. Through a unique combination of rigorous academic instruction and

The American Fine and Decorative Art programme in New

real world learning during two semesters of intensive study,

York explores the full range of American artistic production

students gain insight into the mechanics, underpinnings,

from the colonial period through 1945 through an integrated

and nuances of the art world. Core courses in business, art

program of lectures, seminars, object study, museum and

law, and the international art market provide students with

gallery visits, and practical work. The methodology blends

essential skills and a deep understanding of how these fields

traditional classroom lecturing with hands-on, object-based

affect the business of art. Along with national and interna-

learning which brings students into direct contact with the

tional study travel to vital art world destinations and events,

objects they are studying. Through observation, comparison,

the programme provides a singular platform for students to

and analysis, students learn the major artists and move-

learn directly from a broad spectrum of leaders in the field,

ments in a variety of media: painting, sculpture, furniture,

including auctioneers, dealers, collectors, consultants, mu-

ceramics, glass, silver, textiles, and more. The core curricu-

seum directors, curators, and critics.

lum builds connoisseurship skills while examining the diverse

MA IN CONTEMPORARY ART Kathy Battista, Programme Director

cultural histories of objects, makers, and markets of each period. Travel to key sites both locally and beyond allows students to experience those qualities of art directly: the texture of a painted surface, the tone and sheen of furniture,

The Contemporary Art programme in New York examines art

and the weight of an object in hand. Learning from leading

movements, markets and patrons from 1945 to the pres-

scholars, curators, and dealers, students emerge with a first-

ent, emphasizing a formal, historical, and critical analysis of

rate education and are exposed to a network of experts that

art from this period. The curriculum combines art historical

is unsurpassed.

scholarship, research methodology and professional practice to enable students to interpret a wide array of contemporary art including painting, sculpture, photography, and time-based media, as well as performance art and other

For further information about the Masterâ&#x20AC;&#x2122;s Degrees on offer, please visit sothebysinstitute.com/masters or email admissions@sothebysinstitute.com. 27

New York Institute, continued

SUMMER STUDY

IMPRESSIONISM TO NOW

Two- and four-week summer courses are offered in New York.

In this intensive introduction to modern and contemporary

CONTEMPORARY ART IN NEW YORK

art, students examine different movements, schools and the visual art-making practices that have proliferated since the late 19th century. Rather than move forward in chrono-

Discover the vibrant contemporary art scene in New York

logical order, the course uses contemporary art as the lens

through access to artists’ studios, galleries, museums, foun-

through which to look back, identify, and understand anew,

dations, private collections, and other spaces. In this course

the aesthetic strategies and achievements made available

students gain an understanding of both contemporary art

by the great works of the past. No previous art experience is

history and the newest developments emerging in Basel,

required. (Four Weeks)

Berlin, Brooklyn, and other important art markets. The series of lectures and tours throughout the city and its immediate surroundings helps identify the key personalities and most

LEGAL ADVENTURES AND MISADVENTURES IN THE ART WORLD

influential spaces which contribute to this rich and varied dialogue. This course focuses primarily on dynamic, cutting-

Gain an overview of important legal issues and cases in art

edge contemporary art. (Four Weeks)

by exploring subjects such as copyright, fair use and the appropriation of images by artists (such as Shepard Fairey,

PRINCIPLES OF BUSINESS IN THE ART WORLD

Jeff Koons, and others). Students also examine moral rights of artists, freedom of speech, rights of privacy and publicity,

This course offers a broad and engaging introduction to

issues related to authentication and appraisals, restitution by

business principles as applied to the arts. Beginning with

museums of cultural property, and recent case development

the economic world around us, participants review basic

concerning Nazi-era art. Participants will have the opportu-

business models and use them as a starting point to explore

nity to hear from art experts and attorneys in the museum,

the business structures of the art world: the artist’s studio,

auction house, and gallery worlds. No legal background is

the gallery, the museum, the auction house. Through case

required. (Two Weeks)

studies, field trips, and lectures, students gain an overview of the principles of finance, economics, and budgeting, and learn specific tools for analyzing—and creating—business structures. (Four Weeks) 30

HOW TO RUN A GALLERY

THE GALLERY BUSINESS: A PRACTICAL GUIDE

What does it take to start and run a successful gallery? In this

Gain insight into starting and running an art gallery in today’s

course, students gain an overview of the gallery business,

dynamic art market. Lectures provide an overview of the gal-

from initial funding and forming an artist roster, to exhibition

lery business, from initial funding and forming an artist roster,

planning and marketing and communication strategies. Site

to exhibition planning and marketing and communication

visits include artists’ studios to understand how to procure

strategies. Students will also visit galleries to augment the

artwork and negotiate pricing, and gallery visits to learn

discussion and provide first-hand examples of success in the

different approaches to key aspects of the business. (Four

field. This examination of historical and new contemporary

Weeks)

art gallery models in New York provides a solid foundation for students with an aspiring interest in owning a gallery or work-

All courses are examples of what may be taught. For further information about the Summer Study in New York, please visit sothebysinstitute.com/summer or email admissions@ sothebysinstitute.com.

SHORT COURSES

ing in the commercial art sector.

THE VALUE OF ART Whether acquiring works of art for pure enjoyment, with an eye towards investment or as the beginning of a compre-

EXPERIENCE CONTEMPORARY ART IN NEW YORK

hensive collection, it’s important to learn how the art world

Join us for a journey through New York’s fascinating art scene

ranging from investment to connoisseurship and the impor-

during this six-week series where we’ll explore the best current exhibitions at New York’s finest contemporary galleries and alternative spaces. Through this course students gain an understanding of both contemporary art history and the newest developments in art. The series of lectures and tours

functions so you can make informed decisions. This course reveals the principles behind different acquisition strategies tant decisions that need to be made at each stage. All courses are examples of what may be taught. For further information about the Short Courses in New York, please visit sothebysinstitute.com/shortcourses or email admissions@ sothebysinstitute.com.

throughout the city will help to identify the key personalities and influential spaces that contribute to the rich, varied dialogue of contemporary art.

Los Angeles Building on programmes pioneered more than forty years ago by Sotheby’s Institute at its London and New York campuses, the MA in Art Business curriculum is taught by distinguished faculty of art and business practitioners and is enhanced by the distinctive course offerings and expert faculty of Claremont’s Drucker School. Along with its examination of western art markets, practices and history, the programme opens important windows on the emerging markets of Asia and Latin America.

MASTER’S DEGREE AND POSTGRADUATE DIPLOMA MA IN ART BUSINESS Jonathan T.D. Neil, Director In an historic collaboration, Sotheby’s Institute of Art and Claremont’s Peter F. Drucker and Masatoshi Ito Graduate School of Management offer a three-semester programme leading to the MA in Art Business granted by the Claremont Graduate University. This ground-breaking partnership between two of the world’s leading graduate institutions marks a unique approach to education at the intersection of art and commerce. Building on programmes pioneered more than forty years ago by Sotheby’s Institute at its London and New York campuses, the MA in Art Business curriculum is taught by distinguished faculty of art and business practitioners and is enhanced by the distinctive course offerings and expert faculty of Claremont’s Drucker School. Along with its examination of western art markets, practices and history, the programme opens important windows on the dynamically emerging markets of Asia and Latin America. Electives can be chosen from the upper-level art history courses of the The Claremont Colleges, the Drucker School’s MBA offerings, Claremont’s MFA curriculum in studio art, and its graduate programmes in Arts Management or Museum Studies. Alternatively, students have the option of completing their entire third semester at either the London or New York campus of Sotheby’s Institute of Art. Regardless of which route is chosen, graduates are uniquely prepared for careers in the burgeoning asset-driven segment of the expanding international art markets.

What is the difference between the MA in Art Business programme and Arts Management MA programmes at Claremont Graduate University? Choosing between the MA in Art Business at Sotheby’s Institute – Los Angeles and an Arts Management program (including the programme at our partner, CGU) depends on the student’s career goals or aspirations.

ART BUSINESS focuses on the visual arts with an emphasis on the for-profit side of the industry and the institutions that manage, conserve, exhibit, promote and sell works of art. Students who pursue a degree in Art Business typically work in art galleries, auction houses, museums, exhibition spaces and other art enterprises. Art Business students tend to be entrepreneurial and many start their own innovative art businesses.

ARTS MANAGEMENT focuses on all aspects of the arts (theater and dance, arts education, arts organizations, etc.) culture, and policy. The program also has a focus on management and the non-profit side of the arts. Students who pursue a degree in Arts Management manage and build art organizations; work in art education and policy; cultural organizations; etc.

For further information about the Master’s Degrees on offer, please visit sothebysinstitute.com/masters or email admissions@sothebysinstitute.com. 33

China Major cities across mainland China, including Beijing and Shanghai, as well as Hong Kong, have established themselves as global art world hubs, with record-breaking sales and internationally-watched art fairs. In response to this growing market, Sotheby’s Institute of Art continues to build on its existing educational programming there. The Institute invites students with a variety of backgrounds to delve deep into the business of art.

SHORT COURSES

EXECUTIVE EDUCATION

CONTEMPORARY ART IN CHINA TODAY

BUSINESS MANAGEMENT IN THE ART WORLD

This course provides an understanding of the latest develop-

Aligned with the Institute’s hands-on approach, participants

ments in contemporary art in China today. The lectures and

gain the latest thinking in business management in the art

exclusive visits to artists’ studios and local museums give in-

world via lectures, case studies and visits to leading galler-

sight into the background and practice of art in China across

ies. Invited speakers include both academic and business

a range of media such as ink painting and printmaking.

school faculty and renowned business leaders in the field.

Covering art forms that are unique to Chinese culture such

The faculty require advanced preparation from course par-

as ink painting and also more recent trends in art practice

ticipants for specific sessions in order to be equipped for the

pursued by the emergent generation of artists, the course is

non-stop week of presentations, workshops, case studies,

of interest to those seeking to increase their knowledge and

panel discussions and visits. These unique courses attract

understanding of the structures, techniques and cultural

participants from around the world who are committed to

contexts of contemporary Chinese art. The lectures offer a

strengthening their business skills and embracing the con-

brief background of 20th-century art in China while the pri-

stant changes to the ecosystem. The participants develop

mary emphasis is on the most recent period of development

a valuable international network which often translates into

in the past decade.

shared artists and exhibitions and other business initiatives.

EXTRAORDINARY JEWELS: 1780 TO 1980

This intensive course addresses key issues of business prac-

Throughout history, fine jewels have been treasured for their artistry, as well as the intrinsic value of the precious metals and gemstones used in their creation. This exciting three-day course highlights two centuries of craftsmanship and design. All courses are examples of what may be taught. For further information about the Short Courses in China, please visit sothebysinstitute.com/china or email admissions@sothebysinstitute.com.

tice within the art world such as: strategy, marketing, financial management and operations, as well as governance and leadership. Aligned with the Institute’s ‘hands-on’ approach, participants gain the latest thinking in business management via lectures, case studies and practical sessions. Speakers include both faculty and renowned business leaders in the field. The course is designed for those who want to enhance their competitive edge in today’s art market. All courses are examples of what may be taught. For further information about the Executive Education in China, please visit sothebysinstitute.com/executiveeducation or email admissions@sothebysinstitute.com.

STUDY OPTIONS FOR MASTER’S DEGREE STUDENTS INTERIOR DESIGN The two-year INTERIOR DESIGN OPTION enables students to supplement their Master’s degree studies at Sotheby’s Institute of Art with Interior Design studies at the New York School of Interior Design (NYSID). Coursework for the Master’s degree is completed in the first year and is followed by intensive studio training in Interior Design during the second year. A final Master’s Project is also undertaken during year two with guidance from faculty of both institutions. The project draws upon the studio and design techniques gained at NYSID (www.nysid.edu) and is grounded in the historical, critical and art business contexts of Sotheby’s Institute of Art’s programmes. On completion of these studies, students are awarded an MA degree as well as a Basic Certificate in Interior Design. The Interior Design option may be taken on a part or full-time basis, and a summer semester may enable students to complete the programme more quickly. The Interior Design option is compatible with all MA programmes at Sotheby’s Institute of Art with the exception of the MA in East Asian Art. MA students in London who are interested in the Interior Design option must transfer to the New York campus for the second year to complete the programme and earn a USaccredited degree. 38

Online Sotheby’s Institute of Art – Online offers intensive, custom-curated courses through a clean, simple e-learning interface specifically designed for all students. Taught by leading experts in the field, each six-week online course provides for a deep understanding of key concepts, and the ability to interact with students worldwide creates a truly global learning community.

INTRODUCTION TO CONTEMPORARY ART

INTRODUCTION TO ART HISTORY: THE MOVEMENTS THAT MATTERED

In the past fifty years contemporary art has grown to be one of the most exciting and crowded fields in the international

Instead of approaching art history as a flurry of dates and

art world. This course offers an introductory guide to contem-

names to remember, this course dives deeply into single

porary art, surveying all the trends and movements that have

moments—and uses key objects as a means to understand-

shaped the period, and tracing how the market for art has

ing the progression of styles in Western art. Beginning with

kept pace. Students review the emergence in the galleries of

the pyramids of ancient Egypt in 3,000 BCE and ending with

film and video, and assess the health of venerable practices

Picasso’s Les Desmoiselles d’Avignon from 1907, we trace

like painting and drawing. The course looks both at the work of

the evolution of art’s major periods and styles by a close

contemporary art’s leading lights – Andy Warhol, Jeff Koons,

consideration of treasured objects and monuments. Partici-

Elizabeth Peyton – and those just emerging onto the scene.

pants will emerge with a greater understanding of the arc of Western art, as well as an in-depth understanding of some of

ART AS AN ALTERNATIVE INVESTMENT

humanity’s greatest works.

Among seasoned investors, fine art is generally acknowl-

UNDERSTANDING INTERNATIONAL LAW IN ART BUSINESS

edged to possess features that make it a particularly attractive alternative asset class. By looking at performance statistics and reviewing a range of academic and empirical research on the subject, this course will examine the characteristics of fine art that allow it to be categorized in this manner. It will consider appropriate investment strategies involving fine art and the analytic tools that enable us to measure the performance of art investment portfolios compared to conventional investments.

UNDERSTANDING TRENDS IN THE ART MARKET

Art business operates in a global environment. This course examines ways in which art businesses are legally constituted worldwide. For example, international art business contracts and how to form and manage them; international auction houses and salerooms and consumer protection legislation; international movement of artworks and the repatriation of those stolen or plundered; and intellectual property laws relating to art and artists, art business and its management. The course also addresses issues related to art as a creative endeavour, art as an article of commerce, and art as a significant

It is a common misconception that the art market is a lottery in which prices behave in an arbitrary and unpredictable manner. This course develops the economic principles and basic statistical tools that enable us to analyze the art market and understand underlying movements and trends in art market prices.

cultural artifact. All courses are examples of what may be taught. For further information about the Online courses, please visit sothebysinstitute.com/online or email admissions@sothebysinstitute.com.

The economic principles introduced will be applied to the art market in order to get to the heart of the problem of valuing an artwork. 41

Faculty

In London, New York and Los Angeles

LONDON

JOS HACKFORTH-JONES

MEGAN ALDRICH

DAVID BELLINGHAM

Director, London

Academic Director

Programme Director, Art Business

PhD from the University of Sydney and an MA from the Courtauld Institute of Art. Prior to her role at Sotheby’s Institute of Art, Professor HackforthJones served as President and Provost at Richmond The American International University in London. She is a distinguished academic administrator, noted art historian, author, curator and lecturer. She has published widely on art historical subjects, including most recently Art and Authenticity, (co-edited with Megan Aldrich, Lund Humphries 2012). She has held a number of international research fellowships, organised colloquia and conferences and lectured extensively. In 2007 she was lead curator of the exhibition, Between Worlds, Voyagers To Britain 1700–1850 at the National Portrait Gallery, London, and edited its catalogue. She is a Fellow of the Royal Society of Arts.

Megan Aldrich studied art and architectural history at Brown University and the University of Toronto; she began her career in the furniture department of the Victoria and Albert Museum, London, joining Sotheby’s Institute of Art full-time in 1987. Over the past quarter century, she has published over thirty articles and books, has given numerous public lectures world-wide, and has contributed to exhibitions and television programmes. Her interests centre around cultural memory and stylistic referencing in the fields of decorative art and interior architecture; she presented a papers at the Pugin conference in Maynooth, Ireland, in 2012 and at the College Art Association conference in New York in 2013. Recent publications include Antiquaries and Archaists, co-edited with Robert Wallis (2009); and Art and Authenticity, co-edited with Jos Hackforth-Jones (2012). From 1990-2005 she ran the MA in Fine and Decorative Art; since 2005 she has been Academic Director of Sotheby’s Institute London.

Dr. David Bellingham is an art historian, author and Programme Director for the Masters Degree in Art Business at Sotheby’s Institute of Art, London where he leads units on Ethics and the Art Market and Professional Practice & Art Appraisal; he also lectures on Classical Art and Architecture. He holds a special honours degree in Latin and Classical Archaeology (University of Birmingham), and a doctorate from the University of Manchester for his thesis on the cultural and socio-economic aspects of sympotic scenes in ancient Roman and Pompeian wall-painting. David has published numerous books and articles on a variety of subjects, including: art fairs; art business ethics; Greek & Celtic mythology; the art market for classical sculpture and frescoes; the paintings of Sandro Botticelli; and authenticity issues in the paintings of Frans Hals. He is currently writing an introduction to the art market for professionals, collectors and students. Most recently, David delivered a paper at the University of Maastricht on the ethical reception of the Riace Bronzes (to be published Winter 2013).

CHANTAL BROTHERTONRATCLIFFE Programme Director, Fine and Decorative Art PhD in Literature and Art History, Warburg Institute, University of London; MA in Art History, University of Edinburgh. Her areas of expertise are 16th- and 17th-century painting. She also trained as a painting restorer and combines this experience with her knowledge of the history of Old Masters to teach with an emphasis on historical painting techniques. Fluent in French and Italian, she lectures regularly for a wide range of courses and Institutions, in London, America and Europe. She has worked for Sotheby’s Institute since 1989. She is a member of AICA.

LIS DARBY

ANTHONY DOWNEY

Programme Director, Contemporary Design

Programme Director, Contemporary Art

Lis Darby’s research and specialist areas are the history of 19th and 20th century and contemporary decorative art and design, and late 18th to early 20th century sculpture. She co-authored The Cult of the Prince Consort (with Nicola Smith, Yale University Press 1983) and has contributed to various publications and journals on both sculpture and the decorative arts. Essays on 20th-century and contemporary design appear in Sotheby’s Institute’s publications, Understanding Art Objects: Thinking Through the Eye (Lund Humphries, 2009) and Art and Authenticity (Lund Humphries, 2012). She co-edited Creative Britain, a volume of essays published by Sotheby’s Institute in 2012 and based on outstanding dissertations submitted for the MA in Contemporary Design. She is Committee member of the Decorative Arts Society.

PhD, Goldsmiths College, London University; MA and MPhil, Goldsmiths College; BA, Birkbeck College, London. An editorial board member of Third Text, Anthony Downey has published essays, criticism and interviews in numerous international journals. His research activities and teaching focuses on North African and Middle Eastern artists, collaborative and participative art practices, human rights, bio-politics and migration, and the potential for an ethics of contemporary art practice.

Faculty

In London, New York and Los Angeles

ANNE FARRER

JULIET HACKING

IAIN ROBERTSON

Programme Director, East Asian Art

Programme Director, Photography

Head of Art Business Studies

PhD in late Ming woodblock illustration, University of London; BA in Chinese, School of Oriental and African Studies, University of London. Anne Farrer is a sinologist and historian of Chinese painting and graphic art, and formerly Assistant Keeper of Chinese graphic collections and Chinese Central Asian collections at the British Museum. Her exhibitions include Caves of the Thousand Buddhas: Chinese Art from the Silk Route, The Brush Dances and the Ink Sings and A Garden BequestPlants from Japan, as well as Chinese Printmaking Today: Woodblock Printing in China 1980-2000.

PhD (Nineteenth-century British photography), MA in Art History, BA (Hons) in Art History (all Courtauld Institute of Art). 1996-8: Visiting Lecturer at the Universities of Derby and Reading and the Courtauld. 1999-2000: Research Assistant, National Portrait Gallery (London). 2000-06: Photographs specialist at Sothebyâ&#x20AC;&#x2122;s auction house, London (Head of Department from in 2003). Joined Sothebyâ&#x20AC;&#x2122;s Institute of Art, London, in 2006. Editor: Photography: The Whole Story, 2012.

PhD on the emerging art markets of Greater China, City University, London in 2000. In addition to more than 100 articles for the arts and national press, Iain Robertson is art market editor and feature writer for Art Market Report, Australia. His book Understanding International Art Markets and Management was published in 2005 and a Chinese translation for the book appeared in 2009. This book was followed by The Art Business in 2008. A third book, A New Art from Emerging Markets was published in March 2011. Iain is advisor to the Asia Art Archive in Hong Kong, a consultant to the private banking arm of Hana Bank in South Korea, Education Director at Art Gwanju, S. Korea, Advisor to Deloitte, Luxembourg, visiting professor at Tsinghua University, Beijing, and Sichuan Art Academy, Chengdu, Chief Foreign Correspondent to Artron, Beijing, Advisor to Prevaleo, Toronto, and Consultant to Lisbon University, Portugal. A new book Principles of International Art Business edited with Derrick Chong will appear in 2013 as well as Understanding International Art Markets (second edition), sole author.

LOS ANGELES

JONATHAN WOOLFSON

JONATHAN T.D. NEIL

Director, Semester Programmes and Summer Study

Director, Los Angeles

PhD in Renaissance Studies, Warburg Institute, University of London; BA (Hons) in Modern History, University of Oxford. Jonathan Woolfson specializes in the cultural history of England, Italy and Europe in the 16th century. Prior to joining Sotheby’s Institute of Art he was Academic Director of the Lorenzo de’Medici Institute in Florence, and has taught in a wide variety of institutions including St Mary’s University College (Strawberry Hill), the University of Chichester, the Victoria & Albert Museum, the University of Oxford (Hertford College) and New York University in Florence. A former British Academy Postdoctoral Fellow and now a Fellow of the Royal Historical Society, his publications include Padua and the Tudors: English Students in Italy, 1485-1603 (1998), Reassessing Tudor Humanism (2002), and Palgrave Advances in Renaissance Historiography (2004). His 2010 essay ‘The Renaissance of Bees’ won the Renaissance Studies Article Prize.

PhD, Columbia University. Jonathan T. D. Neil is the Director of Sotheby’s Institute of Art — Los Angeles, a partnership with Claremont Graduate University’s Drucker School of Management. He is Associate Editor at ArtReview magazine, Executive Editor at The Drawing Center in New York, and Editor of The Held Essays on Visual Art for The Brooklyn Rail. In 2005 he co-founded, with M. Franklin Boyd, the private curatorial firm Boyd Level LLC. He holds a PhD in 20th-century art from Columbia University and has taught courses on modern and contemporary art and architectural history, critical writing, and the history of photography at Columbia and The New School. He is a member of the New York chapter of the International Association of Art Critics (AICA) and the New Art Dealers Alliance (NADA). He has been a member of Sotheby’s Institute of Art’s New York faculty since 2009, where he taught in the Contemporary Art and Art Business MA programs as well as in short courses.

Faculty

In London, New York and Los Angeles

NEW YORK

LESLEY CADMAN

KATHY BATTISTA

JONATHAN CLANCY

Director, New York

Programme Director, Contemporary Art

Programme Director, American Fine and Decorative Art

BA, Middlebury College. For more than 25 years before joining Sotheby’s Institute, Ms. Cadman served in a series of senior leadership roles at Parsons the New School for Design in New York City, most recently as Vice Dean and Chief Operating Officer, and as Director of Parsons’ campus in Paris, France. Ms. Cadman is Past President and a Life Member of the National Association of Schools of Art and Design and served as Chair of the Commission on Accreditation; she continue to Co-Chair the association’s training sessions for visiting evaluators. She has also been an active member of the Association of Independent Colleges of Art and Design (AICAD).

PhD, London Consortium; MA, Courtauld Institute of Art; BA, Fordham University. Kathy Battitsta is a Senior Research Fellow of the Centre for Global Futures in Art, Design and Media at the Winchester School of Art University of Southampton. She is author of Re-negotiating the Body: Feminist Artists in 1970s London, the forthcoming New York New Wave (both IB Tauris); coauthor of Art New York and Recent Architecture in The Netherlands (both ellipsis). Her essays have appeared in Ladies and Gents: Public Toilets and Gender (Temple University Press); Arcade: Artists and Placemaking (Black Dog); Surface Tension: Problematics of Site (errant bodies); as well as many exhibition catalogues. Kathy is a regular contributor to the journals Art Monthly, Art Untitled, The Brooklyn Rail and RES Art World as well as Phaidon.com. She has taught at Cornell University; Birkbeck College; The London Consortium (University of London); Kings College; the Ruskin School of Art, Oxford University; and Tate Modern. She co-founded the curatorial agency Tauromakia, is on the Curatorial Committee of NJ MoCA, and was founder of the Interaction program for the UK-based public art agency Artangel.

PhD, The Graduate Center, City University of New York; BA, Rutgers University. Jonathan Clancy is an author, educator, and curator. His publications include Beauty in Common Things: American Arts and Crafts Pottery from the Two Red Roses Collection (coauthor, 2008), Frans Wildenhain: Creative and Commercial American Ceramics at MidCentury (contributing author, 2012), Art and Authenticity (contributing author, 2012). His research has appeared in Modern Craft, Journal of Design History, the Smithsonian’s American Art Journal, and numerous other journals. He is presently preparing a catalog of the painting collection at The Redwood Library and Athenaeum in Newport, Rhode Island.

MARY ROZELL Programme Director, Art Business MA, Modern Art (German Expressionism), Courtauld Institute of Art; JD, Pepperdine University School of Law; BA, Hamilton College; member California and District of Columbia Bars. An art historian and art lawyer, Mary Rozell specializes in private art collection management and is a legal advisor to collectors, artists and foundations. While living in Berlin for almost a decade, Ms. Rozell was the Germany correspondent for The Art Newspaper as well as Director of the ACC Galerie European Studio Programme in Weimar. She lectured extensively about the emerging art scene and is the author of numerous journal articles, exhibition catalog essays, and translations. Ms. Rozell has since served as the Managing Director of the Swiss Institute â&#x20AC;&#x201C; Contemporary Art, and as the director of a major private art collection and foundation in New York. She is the author of Art Collection Management: A Handbook for Collectors and Art Professionals (Lund Humphries 2013).

Academic Travel

Substantial academic travel, both locally and internationally, is an integral part of each of the master’s programmes, reinforcing classroom teaching with relevant site visits guided by experts. Our trips are integral to student course work, and all assignments—including papers, oral presentations and other projects—are keyed to the location. At its core, academic travel prepares students for their future professional lives as dealers, curators, auction house experts and the other related art world careers. Students at all campuses move beyond the classroom to museums, galleries, private and corporate collections and artists’ studios on an almost weekly basis. These visits support the Institute’s emphasis on real world experience and object-based learning. Students experience works of art in situ and discuss elements such as production, installation, interpretation and condition, as well as distribution, conservation and related legal issues. Classes are seminar style, with a faculty lecturer or expert leading discussion. While our three cities offer Institute students ample handson opportunities, there is also an emphasis on the art world at large. To this end, faculty plan their coursework around two or three national and international study trips over the course of two semesters. Trips change year to year, as Programme Directors and faculty seize upon the most timely and relevant exhibitions, fairs and art world events. These field studies offer students direct immersion in a cultural, aesthetic and professional experience. They spend four to six hours per day in sessions, which take the form of seminars, lectures and presentations and meetings with local experts; they are offered optional evening events such as receptions, openings and screenings. As in their classroom-based work, students are expected to be active participants and to discuss ideas, theories and texts related to the work. 48

The Hirschhorn Museum National Museum for Women in the Arts Donald Judd Foundation Marfa Ballroom Apsley House Tate Modern National Gallery of Art Daimler Collection Hoffmann and Boros Collections Bode Mueseum Pergamon Museum Charlottenburg Castle and Museums Hermitage Museum TEFAF Rijksmuseum Van Gogh Museum Stedelijk Museum University of Maastricht Kröller Müller Museum National Park de Hoge Veluwe Dubai Art Fair Museo Tamayo Arte Contemporaneo Museo de Arte Moderno Zona Maco, México Arte Contemporaneo Gallery and studio visits Palacio Nacional El Eco Museum Centro Escultorico Casa Azul: Frida Kahlo House and Museum Museum of Islamic Art Sharjah Biennial Maqamat Dance Theater Peggy Guggenheim Collection CITIES Charleston, South Carolina Philadelphia Massachusetts Delaware Washington, DC Williamsburg, Virginia Chicago Boston Newport, Rhode Island Providence, Rhode Island Miami Sante Fe, New Mexico Marfa, Texas Milwaukee, Wisconsin Hudson Valley, New York Liverpool Birmingham Nottingham Derby Bradford Berlin Maastricht, The Netherlands Rotterdam & Utrecht, The Netherlands Eindhoven & Tillburg, The Netherlands Amsterdam Dubai Mexico City Doha, Qatar Venice, Italy Köln, Germany Düsseldorf Duisberg, Germany Frankfurt Kassel, Germany Paris China

TENT 10 Rotterdam Witte De With Museum Boijmans Van Beuningen Van AbbeMuseum, Eindhoven DePont Museum, Tilburg Huis Marseille Museum voor Fotografie FOAM Photography Museum NIMK (Netherlands Media Art Institute) Koln Cathedral Museum Ludwig Kolumba Museum K21 Düsseldorf Kunstverein fuer die Rheinlande und Westfalen, Düsseldorf MKM Museum Küppersmühle of Modern Art, Duisburg Museum fur Moderne Kunst, Frankfurt Schirn Kunsthalle Portikus Venice Biennale The Arsenale The Giardini Documenta 13 Tate Liverpool Bluecoa, Liverpool IKON, Birmingham Eastside Projects, Birmingham Nottingham Contemporary New Art Exchange QUAD Derby Museum of Modern Art (MoMA) The Metropolitan Museum of Art British Museum Victoria & Albert Museum Paris Photo AIPAD Photography Show Frieze Art Fair Art Basel Miami Beach Art Basel The Armory Show Royal Collection at Windsor Castle Brighton Biennale Sotheby’s Christie’s Museum of the City of New York Gracie Mansion New-York Historical Society Museum of American Folk Art Hudson River Museum Newark Museum ADAA Print Fair Winter Antiques Show Berry-Hill Galleries Gerald Peters Gallery Brooklyn Museum New York Historical Society American Folk Art Museum The Phillip Johnson Glass House Asia Society The Whitney Museum of American Art Storm King Art Center National Portrait Gallery Smithsonian American Art Museum National Gallery of Art Folk Art Museum National Gallery of Art Corcoran Gallery Library of Congress Rhode Island School of Design Redwood Library Mass MoCa Peabody/Essex Museum The Boston Museum of Fine Arts Trinity Church Boston State House Winterthur Museum and Gardens Powel House M. Finkel & Daughter Philadelphia Museum of Art Charleston Antique Show Heyward Washington House Williamsburg Antique Forum Furniture Study Center & Art Gallery at Yale University Art Institute of Chicago Frank Lloyd Wright Home and Studio SITE Santa Fe O’Keeffe Museum Museum of Indian Arts and Culture Rubell Family Collection Margulies Collection 49 Art Basel Miami Beach Pulse Art Fair Miami Art Museum

Walker Arts Center Whitechapel Art Gallery Whitney Museum

Field study and travel are major components of the Sothebyâ&#x20AC;&#x2122;s Institute learning experience

Careers at Sotheby’s Institute

A DEVE

An education at Sotheby’s Institute of Art is widely recognized as one of the best pathways to obtaining a career in the international art world. Our rigorous academic programmes and unique curricular approach prepare our students for a variety of arts-related careers, distinguishing our graduates as the most capable of arts professionals.

HISTORIC PRESERVATION

RESOURCES Our dedicated Career Services specialists provide a full-

range of services to help degree-earning students and alumni explore career options, find internships and land jobs at some of the most prestigious art-related institutions

GRADUATE CAREERS BY THE NUMBERS

and businesses in the world. Students and graduates of the PhD, Masters, and Semester programmes have access to

Sotheby’s Institute of Art has an impressive network of

an exclusive job board with over 1,400 registered art world

alumni employed at some of the most well-respected arts

employers that regularly recruit from Sotheby’s Institute of

and cultural institutions and businesses across the globe.

Art. The job board also provides access to job listings, em-

The Institute also fosters entrepreneurship, with 25% of

ployer directories, recruitment events, application templates,

graduates starting their own businesses as art consultants,

networking advice, and more.

art dealers, gallery owners, freelance curators, market analysts and more.

Regularly hosted Career Conversations give students an opportunity to hear from alumni and senior art world profes-

75% of our students secure employment

sionals from reputable companies such as Sotheby’s auction

before graduation

house, Phillips Oppenheim, The Guggenheim, Citibank Art

99% of those with positions have jobs in the art world

Advisory and Finance, The Art Newspaper, National Portrait

60% find employment due to contacts made at

Gallery, The Royal Collection and many more.

Sotheby’s Institute of Art 27% work in galleries

Finally, our graduates find that perhaps the greatest asset in

27% work in auction houses

their job search is the Institute’s vast network of alumni. We

7% work in museums or non-profits

have 6,000 alumni worldwide who work in top positions in all facets of the international art world and are eager to mentor

Source: Survey of graduating students 2013

a/k/art consulting & curating Allianz AG American Museum of Natural History, New York Andrea Rosen Gallery Apexart Apple Inc. Art Forum Art Basel Hong Kong Art in America Art Loss Register Art Loss Register Art Moscos Fair ArteBA ARTNET Arts Council Artvest Partners LLC Artwire Asia Society & Museum AXA Art Insurance Berkeley Art Center Bermuda National Gallery Bloomsbury Auctions Bonham’s Bonhams & Butterfields Booz Allen Hamilton British Antique Dealers Association British Museum Brooklyn Museum Chartis Insurance Christie’s Citibank Cole Haan College Art Association Cooper Hewitt National Design Museum Creative Artists Agency Creative Time Deloitte Portugal Design Museum Design Within Reach Deutsche Bank Doyle’s Dulwich Picture Gallery Elle Decoration Magazine Eurart Project Freeman’s Auction House Frieze Gagosian Gallery Garage Center for Contemporary Culture Goldsmiths College Guggenheim Gwangju Biennale Hammer Museum in Los Angeles Haus der Kunst, Munich

EMPLOYERS

students and graduates in their search for rewarding positions.

Hauser and Wirth Hirschl & Adler Modern Houston Center for Photography Ideo J.P. Morgan Chase John F. Kennedy Center for the Performing Arts John Jones Kickstarter Leo Burnett, London Leonard Joel Auctions Lisson Gallery Louise T Blouin Foundation Malborough Gallery Marie Claire Massachusetts College of Art and Design Masterpiece London Mayfair Gallery Ltd. Maynards McKinsey & Co Metropolitan Museum of Art Museum of Modern Art New York Museum of Fine Arts, Boston National Gallery, London New Museum Pace Gallery Phaidon Press Phillip de Pury’s Portland Museum of Art Richmond, The American International University San Francisco Museum of Modern Art Savannah College of Art and Design Scope and Art Asian Smithsonian American Art Museum Sotheby’s Swann Galleries TEFAF Maastrict Thames & Hudson Publishers The Art Newspaper The Corcoran Gallery of Art The Pollock-Krasner Foundation United States Holocaust Memorial Museum University College London University of London (Birkbeck College) University of Pennsylvania University of St Andrews Victoria and Albert Museum VIP Art Fair

BANKING FINANCE

ARTS ELOPMENT

DIGITAL/ WEB NONPROFIT MANAGEMENT

ARTS EDUCATION

MUSEUM administrative

PUBLISHING

ART CONSULTANT/ DEALER APPRAISER CURATOR/ EXHIBITIONS

GALLERY sales or administrative

GALLERY DIRECTOR/ OWNER AUCTION HOUSE specialist or administrative

ARTS EVENTS

DESIGN

ART MARKETING/PR COLLECTIONS MANAGEMENT

WRITER/ RESEARCHER LUXURY GOODS

Alena Latchininsky, MA Art Business, New York, 2010, Post Sale Manager, Sotheby’s

Alumni

A Network of 6,000 Alumni Worldwide

Sotheby’s Institute of Art has more than 6,000 alumni worldwide employed as gallery and museum directors, foundation and auction house executives, art dealers, journalists, lawyers, consultants and other arts related professionals at some of the world’s leading arts and cultural institutions and businesses.

ALUMNI ASSOCIATION PORTAL Sotheby’s Institute is committed to developing our international network of alumni and encourages all graduates to be active members of our Alumni Association. Graduates remain connected to their colleagues and the Institute through the online Alumni Portal which provides news updates and gives access to exclusive Alumni benefits.

ALUMNI BENEFITS Members of the Alumni Association receive discounts on short courses and public programmes, in addition to a reduced subscription rate to The Art Newspaper. Additional benefits include lifetime access to the Alumni Portal which includes a directory of all graduates; jobs listings powered by the Institute’s exclusive job board with over 1,400 registered art world employers; and membership to our private Facebook and LinkedIn alumni network groups.

EVENTS AND PROGRAMMES Exclusive events for alumni are held around the world throughout the year, including networking events, annual cocktail receptions and holiday parties. These events provide an opportunity for graduates to reconnect with peers and meet new colleagues working in all facets of the art world. Past events have been held at the Asia Society in New York, Frieze in London, Art Basel in Miami and the College Art Association in Los Angeles.

DANIEL LECHNER American Arts Course, New York, 2004 Sales Associate at Cheim & Read

AUDREY YEO MA Contemporary Art, London, 2011 Owner & Director, Yeo Workshop For me, the MA in Contemporary Art is unlike any other MA. During the course, we met both curators and artists and visited commercial and non-commercial art galleries to which you wouldn’t normally have access. These were enriching experiences that helped me to get all the skills I needed to start my own gallery.

I was introduced to many key players in the art market, which has been the base of everything I am doing today.

JULIAN JIMENEZ-HOWARD MA Art Business, New York, 2013 Owner, OUTLET Fine Art I turned to Sotheby’s Institute of Art after a realization that finding a place in the art world seemed like the best way of living a happy life. That said, I didn’t want a halfcooked approach and found that, of the other programs I considered, Sotheby’s Institute offered the best blend of academic and professional instruction. I knew that I wanted to be in the art market, so the MA in Art Business seemed like the perfect fit.

SARA LURIE MA American Fine and Decorative Art, New York, 2010 Marlborough Gallery New York My coursework at Sotheby’s Institute provided me with a vast specialized vocabulary to describe artists’ methods and techniques and to keep up-to-date with the market and current exhibitions.

LEYLA DAYBELGE MA Contemporary Design, London, 2011 Senior Press Officer at Sotheby’s London

ALLISON KANG MA in Art Business, New York, 2011 Contemporary Art Evening Sales Administrator, Sotheby’s

CRAIG BROWN MA in Art Business, London, 2011 Sales and Marketing Executive at London Art Fair Almost every gallery or visual arts organisation I deal with has a Sotheby’s Institute graduate on staff. It’s nice to be part of such a strong network of professionals who are passionate about what they do.

The history of 20th-century design draws on the entire artistic, literary and political culture of that era and is a wonderful grounding for anyone interested in the visual landscape. The programme’s strong emphasis on research, analysis and presentation has been invaluable.

I took a summer art course at Sotheby’s Institute in New York to get a feel for the school and its offerings. After that experience, I decided to apply to the MA in Art Business programme, where I met an eclectic group of mature people with a common desire to learn more about the art business world.

Sotheby’s Institute of Art

SOTHEBY’S AUCTION HOUSE

CAMBRIDGE INFORMATION GROUP

Sotheby’s was founded in London on March 11, 1744, when

Since 2002, the Institute has been owned and operated by

Samuel Baker auctioned “several hundred scarce and valu-

the US-based Cambridge Information Group and contin-

able books” from the library of the Rt. Hon. Sir John Stanley

ues to maintain a close relationship with Sotheby’s auc-

for a few hundred pounds. Since then, Sotheby’s has dis-

tion house. A strong rapport between the Institute and the

tinguished itself as one of the biggest leaders in the auction

auction house provides students and faculty with unique

world, boasting 90 locations in 40 countries and conducting

resources such as privileged access to on-site auctions or

250 auctions in over 70 categories each year. Today, Sothe-

through closed-circuit broadcast; pre-sale viewings; auc-

by’s is one of the most storied names on the global business

tion catalogs; object-handling sessions; opportunities for

stage.

relationship-building with specialists and business directors; and special consideration for internships and employment.

Sotheby’s has been tasked with selling some of the world’s most beloved treasures, including the Duchess of Windsor’s jewels, Rembrandt’s Aristotle Contemplating the Bust of Homer, Picasso’s Garçon à la Pipe, the Qianlong YellowGround Famille-Rose Double-Gourd Vase, the Magna Carta, the first printing of the Declaration of Independence and Edvard Munch’s The Scream. The auctions, conducted in the venerable salerooms in London, New York, Paris and Hong Kong, continue to produce watershed, record-breaking sales year after year. In 1969, the auction house founded Sotheby’s Institute of Art, recognizing that most college and university art history courses were not preparing students to work in the assetdriven segment of the art world. Cataloguers and specialists in the expert departments needed to have critical visual skills and multi-disciplinary training that included the handling and accurate identification of a wide range of objects at all levels of quality. This need was greatest in the field of decorative art, where there was a dearth of teaching at either the undergraduate or postgraduate level. The auction house provided the perfect setting for the comparative study of a wide range of works of art in the marketplace and local collections. 56

John Sotheby, nephew of Sotheby’s founder Samuel Baker

Sotheby’s auction house, 1963

Bedford Square today, home to Sotheby’s Institute – London

Sothebyâ&#x20AC;&#x2122;s Auction House New Bond Street, London

Application Procedures and Financial Assistance

OPEN DAYS AND RECRUITMENT VISITS

Since requirements vary by campus, we strongly encourage you to follow the application procedures listed for each

Interested in learning more about our many paths of study?

campus at sothebysinstitute.com/admissions.

Come and meet faculty members of Sotheby’s Institute of Art and learn about our range of programmes at our

Applicants to Sotheby’s Institute of Art must submit:

London, New York and Los Angeles Open Days, held on and off campus throughout the year. In addition, a representative

1. Online application via sothebysinstitute.com (Los Angeles

from the Institute makes regular recruitment visits during the

students must fill out the application to Claremont Graduate

year to campuses and other institutions throughout North

University by visiting cgu.edu/sia)

America, Europe, and Asia. For a complete listing of dates

2. Official transcript sent from undergraduate college or

and locations for our Open Days and Recruitment Visits,

university

please visit sothebysinstitute.com/calendar.

3. A writing sample (art history paper or 1,000 word essay on

DEADLINES Priority Application Deadline: 27th February, 2015 Note: Sotheby’s Institute of Art application deadline is a received-by deadline, not postmark deadline. Please be sure to submit your application and required materials in advance of the deadline, as only completed applications will be eligible for review.

APPLYING TO SOTHEBY’S INSTITUTE Admission to postgraduate programmes requires the completion of a undergraduate degree (Baccalaureate) or equivalent. It is suggested that applicants who have not studied art history at the degree-earning level discuss their qualifications with the Institute’s admissions staff in person, over the phone or by emailing admissions@sothebysinstitute.com. Applicants must apply online at sothebysinstitute.com. A fee of £50 for application to the London campus, $100 for application to the New York campus and $80 application fee for Los Angeles is required. 60

any art exhibition of choice) 4. Resume or C.V. 5. Two letters of recommendation (academic preferred) 6. English Language Proficiency Test (required for all nonnative English speaking students) 7. Personal statement

INTERVIEWS Programme applicants who appear to be eligible will be invited to schedule an interview with a member of the Institute’s staff and/or an alumni representative during the admissions process. Interviews will be scheduled by the Admissions staff. Applicants will be contacted at the appropriate time to make arrangements for an interview. The interviewer will assess the candidate’s aptitude for the programme, level of English proficiency (if appropriate) and commitment to study. To accommodate schedules we also offer SKYPE and phone interviews.

TUITION FEES Fees for all full-time postgraduate programmes and semester courses include tuition, seminars, one-to-one tutorials,

and IT support. With the exception of semester courses, the

Institute’s London campus are eligible to apply for this

fee does not include travel and lodging for study visits. On ac-

award. Candidates will have to submit a 2,500 word essay

ceptance into a postgraduate programme, a non-refundable

on a subject related to connoisseurship, European and Asian

deposit is required which is offset against the payment of

ceramics, and European-Asian cultural exchange. The essay

tuition fees at the start of term. For information on our fees,

question and application deadline will be announced on our

please visit sothebysinstitute.com/admissions.

website in due course.

FINANCING YOUR MASTER’S STUDIES

FINANCIAL ASSISTANCE

There are a number of ways in which you can finance your

Financial assistance to Master’s degree applicants is granted

MA studies at Sotheby’s Institute of Art.

on a needs basis. These grants are partial-tuition awards and may cover between 10 to 25 percent of the total cost of

The Institute offers both merit-based (scholarships) and

tuition.

needs-based (financial assistance) awards across all Master’s programmes. Most of these grants are partial-tuition

Applications for financial assistance are reviewed on a rolling

awards.

basis. It is highly recommended that you apply for financial assistance as soon as possible, once you receive an offer of

Please note: Receiving an offer to enroll in one of the Insti-

admission to any of the Institute’s MA programmes.

tute’s MA programmes is a prerequisite for the application to scholarships and financial assistance.

LOANS

SCHOLARSHIPS

Loans can be used to supplement other forms of support such as scholarships and grants. UK students are eligible

Gordon Lang Scholarship Competition

to apply for Professional and Career Development Loans.

Gordon Lang (1943–2010) was an inspirational teacher at

US citizens may apply to either US Federal Loans or private

Sotheby’s Institute of Art and an internationally recognised

loans under the Sallie Mae scheme for study both in the UK

expert in ceramics. His areas of expertise included Meissen

or the US.

porcelain, Italian majolica pottery and, especially, Chinese ceramics. He was also immensely knowledgeable about the

FURTHER QUESTIONS

impact of trade between Europe and Asia, with special reference to Restoration London. By founding the ‘Gordon Lang

For questions concerning your application to Sotheby’s or

Scholarship’, the Institute hopes to encourage future scholar-

for further information about any of the above mentioned

ship and expertise in these and similar areas.

sources of funding please visit sothebysinstitute.com/admissions or email admissions@sothebysinstitute.com.

This scholarship is a full-tuition award. Applicants—regardless of nationality—to any MA programme offered at the 61

Frequently Asked Questions Does the Institute offer financial assistance?

How selective are programmes at Sotheby’s Institute of Art?

Sotheby’s Institute of Art offers financial assistance and Scholarship opportunities at the London and New York campuses for postgraduate/graduate programmes. More information is available at sothebysinstitute.com.

The growing reputation of Sotheby’s Institute means a growing number of applicants. The application process is both rigrous and selective and acceptance rates vary from year to year. We encourage applications to be submitted by the priority deadline of March 14th.

How much financial assistance or scholarship funding is typically given? Do I have to pay this back?

Is it possible to talk with a graduate before I apply to one of the programmes?

The average financial assistance award ranges from $3,000– 5,000 USD, or 1,500–3,000 GBP. Scholarships range from $3,000–6,000 USD or 3,000–5,000 GBP per student. Both types of award are grants and do not need to be repaid.

Yes. Please contact admissions@sothebysinstitute.com if you wish to be connected with alumni.

Is there a deadline for financial assistance or scholarships?

I missed the most recent campus presentation at my college/ university. Will someone be returning to campus in the near future?

All funds are awarded based on availability, therefore its recommended that if you wish to apply for financial assistance you submit your application for admissions by the priority deadline of March 14th.

Please email admissions@sothebysinstitute.com to see the schedule an individual phone or in-person appointment with an admissions counselor.

Can I apply for private or national scholarships and apply these to Sotheby’s Institute of Art programmes?

Is it possible to visit the campus or meet with someone before applying to the Institute?

Students may apply for independent scholarships, as needed. If a letter verifying acceptance is required from the Institute please contact admissions@sothebysinstitute.com.

The Institute holds open day events held throughout the year. Listings may be found by visiting sothebysinstitute.com. We also encourage interested students to meet one-on-one with an admissions staff member to talk about their goals and interests prior to applying. Please contact admissions@ sothebysinstitute.com to schedule a campus visit meeting or for more information on open day events.

Are there student loans available for students to attend the postgraduate/graduate programmes? American citizens pursuing a degree in New York or London are eligible to obtain a private loan through Sallie Mae. International (non-US) students can apply for loans through their country of citizenship (private bank loans, for example). Residents of the United Kingdom are eligible for Professional and Career Development Loans. Please contact admissions@sothebysinstitute.com or visit sothebysinstitute.com for more detailed information. Do you offer on-campus housing at the Institute? The Institute offers students who accept our offer of admission several agency recommendations and tips on securing housing through our online student portal. Students can also use this site to meet each other and arrange flat and roommate shares with other students via a discussion board. Please contact admissions@sothebysinstitute.com for further questions.

Do you require TOEFL for international students? The Institute requires an English Language Proficiency Exam for non-native English speakers. We require the following exam scores: for Masters programmes: IELTS level 7; TOEFL 100 IBT for the internet based exam; for the Postgraduate Dipoma: IELTS Level 6.5; for Semester programmes and London Summer Study: IELTS 6.0. If you have received an undergraduate degree from an Institution where you were taught in English it may be possible to waive the English Language Proficiency Exam, upon review of your application. Do you require the GRE or GMAT for admission? The GRE is required only for applicants applying to the Los Angeles masters program.

Do you require references as part of the application? For postgraduate/graduate programmes, the Institute requires two letters of recommendation (three if you are applying to a programme in London) and applicants are responsible for contacting their referees. Referees should assess a student’s ability to be successful in graduate/postgraduate study based on their direct experience with the applicant. If you have been out of University for three or more years you may submit one professional and one academic recommendation. Should my university professors/lecturers email you the references? The Institute prefers that the letters are either mailed to the Institute directly in a sealed envelope, or they may be sent to the office via email as an attachment. Can I send you an unofficial transcript or mark sheet? If you have a copy of an unofficial document, you may send this in and it will expedite the application review process. However, we do require you to submit official documents indicating your degree has been conferred. Applicants can only select one campus when submitting an application. There will be an option to choose a second programme preference when the online application is completed. If my major is not Art History can I still apply to one of your programmes? Although the majority of our postgraduate/graduate students have undergraduate degrees with a major or minor in art history, this may not be required in all cases. Applicants for our Masters and Postgraduate Diplomas are required to have some art history knowledge in order to be successful. In some cases we require applicants to complete a course prior to attending the postgraduate/graduate programmes at the Institute. Art History knowledge will be assessed based on your writing sample and will be evaluated during the interview process.

Would it be possible to attend London for one semester and New York for the second semester? Postgraduate/graduate students may take two semesters of study at one campus and a third semester of study at an alternate campus in a different discipline. The third semester of coursework will include a master’s project in lieu of a thesis. This option may not be available for all programmes. What are the materials needed to submit a complete application for semester and summer study? Semester Programmes and Summer Study applicants must submit a completed online application, a CV/Resume and IELTS Level 6, required only for non-English speakers. Can I work while enrolled in the Master’s programme? Work during the first two semesters study is not encouraged as all of Master’s programmes are full-time intensive courses. Many students pursue internships during their third semester of study while they complete their thesis/dissertation. Likewise, Semester and London summer study students will find it difficult to sustain work commitments during these intensive full-time programmes. In many cases, visa restrictions will prevent students from working. Do you offer Internship placement? In London, students are eligible to apply for a limited number of highly competitive, non-credit internships at Sotheby’s auction house during the third semester of study. In New York, there are several dedicated internship opportunities open to students in their third semester of study, as well as the opportunity to apply for the highly competitive ‘floater’ programme at Sotheby’s auction house. Does the Institute offer PhD programmes? Sotheby’s Institute offers a split-site PhD programme at our London campus, through the University of Manchester. Do you have job placement?

Are the academic travel fees included in the cost of tuition? For postgraduate/graduate programmes, the travel fees are separate from tuition fees and are listed at sothebysinstitute. com in the Tuition Fees section. London Semester programme travel fees are included in tuition fees. Should I work first before applying for your programmes? Is this preferred? Work experience is not a requirement for admission. We have students who are recent graduates as well as a number of career-changers of all ages. Do you require knowledge of a second or foreign language for admission? There is no foreign language requirement.

A career services office at both the London and New York campuses can assist students to prepare for the job market and provide career advice. Am I eligible to complete a summer or semester programme as an undergraduate? Summer study, semester and short courses, are open to all students. The coursework completed in these areas does not apply to MA degrees at the Institute. Will I be eligible to receive course credit for summer or semester programmes at my college/university? It is the student’s responsibility to speak with the academic advisor at their home institution before considering a programme through Sotheby’s Institute of Art to ensure that the course credit will be transferrable to that institution. 63

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LONDON

admissions@sothebysinstitute.com Tel: +44 (0)20 7462 3251 30 Bedford Square, Bloomsbury London, WC1B 3EE, UK 64

NEW YORK

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LOS ANGELES

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