Learn the Business of Art from Anywhere in the World Sotheby’s Institute of Art—Online offers courses that reveal the complex infrastructure of the art world and today’s global art market. Students learn the core principles of business, art law, art history, contemporary art and other key subjects while studying what is happening in the market. Students also gain an understanding of the intricate art world network of galleries, auction houses, dealers, artists, non-profits and more. This comprehensive approach is what makes Sotheby’s Institute of Art—Online a successful launch pad for professionals and career-changers who are eager to enter a profession at the centre of the booming international art world.
About Sotheby’s Institute of Art Sotheby’s Institute of Art is the Graduate School of Art and its Markets with campuses in the cultural capitals of London, New York and Los Angeles and a range of online course offerings. Originally conceived as a training program for connoisseurship by Sotheby’s auction house in 1969, Sotheby’s Institute has pioneered the education of arts professionals and is today one of the most prestigious degree-granting institutions of its kind. The Institute has more than 6000 alumni worldwide who hold top positions in all facets of the international art world.
JOHN SINGER SARGENT, THE MISSES VICKERS , 1884
A Distinctly Different Way to Learn about the Art World Sotheby’s Institute of Art—Online offers intensive, custom-curated courses through a clean, simple e-learning interface. Taught by Sotheby’s Institute faculty and leading experts in the field, online courses provide an introduction to and a deeper understanding of key art world subjects as well as the opportunity to interact with students from around the world in a truly global learning community.
CAMPANA BROTHER , SONIA DINIZ CHAIR, CIRCA 2003, DETAIL . © SOTHEBY ’S
Introduction to Contemporary Art 1980 to Present Day In the past thirty years Contemporary Art has grown to be one of the most exciting and crowded fields in the international art world. This course offers an in-depth guide to the art of our time, surveying all the definitive trends from the 1980s to the present day, and tracing how the global market for art has kept pace. Students will examine the impact of film, video and photography, as well as changes to traditional methods like painting and drawing, while considering the rise and fall of key ideas like postmodernism, conceptualism, and relational aesthetics. Through online lectures, close readings, group discussions, and brief writing assignments, participants will look both at the work of some of contemporary art’s leading lights - Jeff Koons and Cindy Sherman, Takashi Murakami and Damien Hirst – and those just emerging onto the scene.
Art as a Global Business Art business is no singular thing. It is comprised of many individual sectors that change constantly, are often hard to define, and grow and contract under varying economic conditions. This course offers an introduction to the fundamental structures of the business, the people, institutions and organizations through which art flows, and their relationships to each other. By emphasizing the effects of pricing, value formation and globalization on the art market the course helps students to understand and identify the risks and challenges that contribute to the ever-changing nature of the business of art. Students will have weekly lectures, be expected to actively participate in course discussions, and complete short writing assignments over the six week period.
BUDDHIST LION, K ANGXI PERIOD, 18TH CENTURY
Art as an Alternative Investment This course introduces students to the key concepts and the important developments found at the intersection of finance and the art world. Commencing with an introduction to the overall art market framework, participants examine art funds, art as an alternative investment, art backed loans and art as part of wealth management services. The course discusses important auctions from the Old Masters to Contemporary Art and sales including works by Raphael, Oscar Murillo and Jeff Koons. In addition, the core principles underlying art pricing, art valuation, and proper due diligence are explored in detail. By the end of the six week course, students will be familiar with art finance structures and will have critically assessed these structures’ successes and failures. Students will have weekly lectures, be expected to actively participate in course discussions, and complete short writing assignments over the six week period.
JOHANNES VERMEER , GIRL WITH A PEARL EARRING , CIRCA 1665
Introduction to Art History: Renaissance Art â€“ Present In this course students explore the highlights of European and American art from the early Renaissance to the Baroque Period to 19th century Romanticism and through to the Modern Age. Within a broadly chronological structure, students focus on the paintings of masters such as Giotto, Durer, Michelangelo, Caravaggio, Delacroix, Manet, Gauguin, Picasso, Pollock, Warhol and others, and along the journey discover the impact of the classical past; the interrelationship between stylistic developments, materials and technique; and the broader cultural, intellectual and historical context in which certain kinds of art emerged. This course emphasizes the developments that define each historical period, while detailing the aesthetic advances made with the painting materials and methods available at the time. Connections and continuity in the Western art tradition are explored alongside challenges, change and renewal. Students will have weekly lectures, class discussion and a short written assignment.
Impressionism to Conceptualism: 1860 to 1980 What makes Modern Art modern? And what does the art of artists like Picasso and Warhol reveal about the time period? How did artists react against the tenets of modernism? This course investigates these questions and more while surveying a century of art, architecture and design. It begins with Ă‰douard Manet and the Impressionists, explores the elegance of Art Nouveau, the scandals of Marcel Duchamp, the rise of post-war American art and concludes with the dawn of Contemporary Art. Through online lectures, lively discussion, image research and brief weekly writing assignments students explore styles such as Cubism and Surrealism, Abstract Expressionism and Pop, and bring to life the careers of greats such as Matisse, Le Corbusier, Rauschenberg and Judd, whose creativity transcended the boundaries of trends and movements. Students will have weekly lectures, be expected to actively participate in course discussions, and complete short writing assignments over the six week period.
BALLOON DOG (BLUE), JEFF KOONS, 1994-2000. HIGH CHROMIUM STAINLESS STEEL WITH TR ANSPARENT COLOR COATING . (121 X 143 X 45 INCHES). THE BROAD ART FOUNDATION, SANTA MONICA , INSTALL ATION AT THE MUSEUM OF FINE ARTS, BOSTON
Writing for the Art World Writing about art is based on a sustained practice of rigorous analysis when first encountering an art object, and the subsequent composition of prose that articulates that specific artworkâ€™s aesthetic, social and historical value. Through a close study of art objects and exhibitions, and by reading exemplary texts, students will gain an understanding of the fundamental requirements for writing about art. Participants will explore writing structure, tone and point-of-view, as well as the professional vocabulary used to intelligently describe and analyze contemporary art exhibitions and practices under the guidance of the instructor, and in exchange with fellow students via a mid-course peer workshop. This course will also invite students to learn art writing by generating and revising their own writing on a weekly basis, constructing a body of prose that will lead to a final essay. This hands-on approach will provide students with the diverse writing techniques necessary for exploring visual art through written language. The course is taught in English. A good, working knowledge of written and spoken English is required.
GUO BUCHUAN, BEIJING JINGSHAN PARK , 1938, OIL ON BOARD
Distinguished Faculty and Art World Scholars GIOVANNI ALOI is a Lecturer in History of Art and Visual Cultures at The School of the Art Institute of Chicago, Sothebyâ€™s Institute of Art, and Tate Galleries. In 1995, Giovanni obtained his first degree in Fine Art Theory and Practice and subsequently moved to London in order to further his education with a focus on international contemporary theory and art practice. FRANCESCA BELLINI-JOSEPH is Director of Portafolia Ltd., a London-based advisory firm that helps individuals and corporations in making better-informed decisions and mitigating risks associated with collecting, trading and investing in art and collectibles. She is also Latin America researcher at London-based art market analysis firm ArtTactic. Francesca has been art market commentator at The Financial Times, BBC World Services and several publications in Latin America and the US. COREY Dâ€™AUGUSTINE is a conservator of modern and contemporary art and a technical art historian. He regularly works for the Solomon R. Guggenheim Museum and lectures on art history and art conservation at New York University, Pratt Institute, The City College of New York, and the Museum of Modern Art. He is a specialist in American and European Post-war art.
MORGAN FALCONER is a faculty member in the Contemporary Art programme at the New York Institute and is a critic, journalist and art historian. Educated at the University of Leeds, and the Courtauld Institute of Art, he completed a Ph.D. on American modernist culture at University College London. Since then he has written about contemporary art for publications ranging from The Times (London) to Frieze and Art in America. ELENI MARKOPOULIOTI is the Communications Director at Right Capital, an art & finance firm based in London and Luxembourg that specialises in art lending. She is a consultant lecturer on the MA in Art Business, and regularly lectures and writes on art investment and on the global intersections of the art market and institutions. She holds an MA in History of Art from UCL and an MA in Art Business from Sotheby’s Institute of Art. VICTORIA MIGUEL was one of the founding faculty members of the MA in Contemporary Art at Sotheby’s Institute of Art, New York. In 2015, she developed and taught Museum Curating Now: Behind the Scenes at Tate in collaboration with Tate Modern’s Public Programmes team and the Department of Culture, Media, and Creative Industries, King’s College London.
SARAH CONLEY ODENKIRK is a fine art attorney in Los Angeles, California. She maintains a private legal practice and is also on the faculty of the Sotheby’s Art Institute’s MA in Art Business at Claremont Graduate University . Sarah is a Council Member for American’s for the Arts’ Public Art Network, and on the Director’s Council for UCLA’s Fowler Museum. She is the author of A Surprisingly Interesting Book About Contracts. AIMEE WALLESTON is a writer and editor based in New York City. She has contributed reviews, essays and interviews to numerous publications including Art in America, Flash Art, The Brooklyn Rail, T Magazine and CR Fashion Book. She received her BA in Liberal Arts from Eugene Lang College at The New School, and her MFA in Art Criticism and Writing from The School of Visual Arts, where she currently teaches.
ABOUT ONLINE LEARNING
About the E-Learning Environment Participating in an online course is intellectually challenging and personally rewarding. Courses are delivered through the Instituteâ€™s Learning Management System (LMS), a clean, simple interface which contains all course resources and through which all course interaction occurs. A variety of multimedia resources such as videos, image galleries, readings and web links are utilized as the starting point for written discussions between students and instructors. Instructors provide a syllabus with course objectives and present academically structured material on a weekly basis, along with assignments where applicable. The course can be accessed 24 hours a day, 7 days a week and you do not have to be online at the same time as your peers or instructor. The learning experience emerges from collaborative discussions where students and instructors post comments, questions and observations just as in a traditional classroom.
Global Learning Community
Students at Sothebyâ€™s Institute of Artâ€”Online have come Argentina
from 70 different countries and a variety of backgrounds including art professionals, lawyers, art dealers, designers, artists, educators, non-profit executives, financial analysts, and many others who are simply passionate about art.
Finland Norway United Kingdom Denmark
Lithuania Netherlands Germany Ireland Luxembourg Czech Rep. Belgium Switzerland
Ukraine Slovakia Austria Hungary
Lebanon Qatar Bahrain
OPEN ONLINE ENVIRONMENT Online students come from all over the world and from all walks of life but have one thing in commonâ€”a passion for learning about art and the art world. Our online classrooms are friendly, inviting places where students can feel free to express their thoughts and ideas and ask questions. ONLINE ORIENTATION A week prior to the course start date, students are given access to a Pre-Course Workshop designed to educate students on the use and functionality of our online Learning Management System. Participation in the PCW is not required, but it is strongly encouraged as students who complete the experience have a better chance of success. CREATING A SCHEDULE While students can access their course from their computer anywhere at any time, it is best for students to create a schedule for themselves that works, and to stick to it. New material is released weekly and students will have a week to complete any assignments and participate in class discussion. COMMUNICATION Online students should be confident with both reading and writing in English, since all class discussion takes place in a written forum. Frequent, thoughtful interaction between students and instructors makes for an effective and enjoyable experience for all involved. 33
Most courses can be accessed on a mobile or tablet device, but students will need a reliable computer and internet connection for certain course components. It is the studentâ€™s responsibility to obtain and to maintain the proper hardware and software required to participate in a Sothebyâ€™s Institute of Art (SIA) Online Course.
Join Us and Explore the Art World REGISTRATION To register for an online course, go to the Sotheby’s Institute of Art—Online website and click on “Register Now” for the course(s) of your choice. You will be guided through the simple enrollment process, and upon completion you will receive a confirmation email. REQUIREMENTS Courses are open to the public for those at least 18 years of age who hold a high school diploma or the equivalent. Students are not required to supply a language certificate but must be aware that all courses are conducted in English and a good working knowledge of the language is recommended. For writing classes, students will be expected to be proficient in written English. CONTACT For questions please contact Online at 212.517.3929 or email@example.com. Connect with Sotheby’s Institute of Art on Facebook.
LO ND ON 30 Bedford Square London, WC1B 3EE, UK T +44 (0)20 7462 3232 F +44 (0)20 7580 8160 NE W YO RK 570 Lexington Avenue New York, NY 10022, USA T +1 212 517 3929 F +1 212 517 6568 firstname.lastname@example.org sothebysinstitute.com