|
|
 |
Noted scholars and practitioners in the art world
Programmes are taught by some of the most knowledgeable and highly respected scholars in the field of art. The combination of academic faculty, visiting tutors,specialist lecturers and Sotheby's experts provides students with a wide breadth of knowledge and experience as well as an opportunity to develop a network of professional relationships.
|
|
|
MEGAN ALDRICH, ACADEMIC DIRECTOR
PhD in architectural history, University of Toronto; BA, Brown University, and Academic Director of Sotheby's Institute of Art - London.
She began her career in the Victoria and Albert Museum, London, curated the exhibition on the Crace firm of decorators at the Brighton Museum and Art Gallery (1990) and edited the accompanying publication.
She has contributed to the catalogues of the Pugin (1995) and William Beckford (2001) exhibitions at the Bard Center in New York, and her book Gothic Revival (1994) was awarded the Bannister Fletcher prize by the Royal Institute of British Architects.
She has lectured and published widely, edited the journal Furniture History (2001-05), and has contributed to BBC and Channel 4 television programmes.
|
|
 |
|
DAVID BELLINGHAM
BA (Special Hons), University of Birmingham.
He is a former lecturer in Classical Studies and Heritage Management at St Mary’s University College. He is writing his doctoral thesis on the cultural and socio-economic aspects of sympotic scenes in ancient Roman wall-painting.
Publications include: An Introduction to Greek Mythology; An Introduction to Celtic Mythology; The Kingfisher Encyclopaedia of World Mythology; Greece; `Ethics and the Art Market’ in Robertson, I. & Chong, D. (eds) (2008) The Art Business (London: Routledge); and `The Jenkins Venus: Reception in the Art World and the Market’ for a forthcoming Sotheby’s Institute publication.
|
|
 |
|
ELISABETH BOGDAN
MA (Hons) in History of Design, Royal College of Art/Victoria & Albert Museum; BA (Hons) in Historical Geography, University of Toronto.
She is former lecturer at Southampton Institute’s Fine Arts Valuation programme, Oxford Brookes University and University of Wales Institute, Cardiff. Her specialist teaching includes eighteenth- to twentieth-century European and American design, decorative art and architectural history, and she is a former Trustee of the Design History Society.
|
|
 |
 |
CHANTAL BROTHERTON-RATCLIFFE
PhD in Literature and Art History, Warburg Institute, University of London; MA in Art History, University of Edinburgh. She is t rained as a painting restorer and specialist in historical painting techniques. Lectures regularly for courses in London, Luxembourg and Washington, DC.
|
|
 |
|
DERRICK CHONG
PhD, London University; BComm, University of Toronto; MBA, McGill University; MA, York University (Canada). FRSA since 2005.
He is a senior lecturer in management at Royal Holloway, University of London and conducts research on management and the arts. At present, he is working for Routledge on revising Arts Management (2002) for a second edition. His book, The Art Business, co-edited with Iain Robertson, has just been published by Routledge.
|
|
 |
|
LIS DARBY
PhD in History of Art, Courtauld Institute, University of London; MA in Art History, Courtauld Institute; BA (Hons) in Fine Art, Leeds University.
Her publications include The Cult of the Prince Consort (with Nicola Smith), the catalogue (with Benedict Read) of E. Manning, Marble & Bronze: The Art and Life of Hamo Thornycroft, and articles in various periodicals including The Sculpture Journal, for which she is a member of the Editorial Board.
Read More
|
|
 |
|
ANTHONY DOWNEY
PhD at Goldsmiths College, London and writing a book on aesthetics, politics and ethics.
He sits on the editorial board of Third Text, and is a London correspondent for Flash Art. He has recently written essays and completed interviews for The Art Business (Routledge, 2008), Setting the Stage: Anthony Downey in Conversation with Yinka Shonibare, MBE (Sydney Museum of Contemporary Art, 2008); and Theories and Documents of Contemporary Art: A Sourcebook of Artist’s Writings (California: University of California Press, 2009).
He has also published essays, criticism and interviews in over twenty publications and has recently given papers and chaired conference panels at Tate Britain, London School of Economics, Cornell University (New York), Leuven and Louvain-La-Leuve (Belgium), New York University, London Business School, and the Courtauld Institute, London.
Read More
|
|
 |
|
|
JEREMY ECKSTEIN
Jeremy is a statistician by training. He started his working life as a fund manager, before joining Sotheby's in 1979 as Head of Research for the company, with responsibility for monitoring the performance of the British Railways Pension Fund's fine art investment portfolio. He left Sotheby's in 1990 to work as an independent consultant in the art market.
He has undertaken a broad range of commissioned research, carrying out surveys for the art trade and producing a variety of statistics and economic analyses. Most recently he undertook a major survey for TEFAF Maastricht on the economic impact of art fairs. He also has a special interest in 'securitising' art, structuring fine art investment funds and specialist financial services designed to meet the particular needs of art dealers, collectors and banks doing business in the sector.
| |
 |
|
ANNE FARRER
PhD in late Ming woodblock illustration, University of London; BA in Chinese, School of Oriental and African Studies, University of London.
She 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 Bequest - Plants from Japan, as well as Chinese Printmaking Today: Woodblock Printing in China 1980-2000.
|
|
 |
|
JANE GARDINER
M.A. History of Art, University of London.
Trained at the Victoria and Albert museum, specialising in early European ceramics and glass. Has also lectured for the University of London, Michigan State University, the National Art Collections Fund, the National Trust and l’Institut d’Études Supérieures des Arts, Paris.
|
|
 |
|
TONY GODFREY
MA in Anglo-Irish Literature, University of Leeds, Director of Research and Chair of the Advisory Council of Sotheby’s Institute of Art.
His books include Conceptual Art, Drawing Today and The New Image: Painting in the 1980s. His new book on contemporary painting will be published by Phaidon in 2007.
He has taught at Yale, New York and Oxford Universities and is a regular contributor to exhibition catalogues and periodicals including Art in America, Art Monthly, Burlington Magazine and Untitled.
Read More
|
|
 |
|
JULIET HACKING
PhD in mid-nineteenth century British photography, Courtauld Institute of Art.
She is author and curator of Princes of Victorian Bohemia: Photographs by David Wilkie Wynfield (National Portrait Gallery, 2000) and was formerly photographs specialist at Sotheby’s auction house in London from 2000-06; appointed Head of Department in 2003.
Read More
|
|
 |
|
JULIA HUTT
Part-time Curator of Japanese art at the Victoria & Albert Museum, with specialisation in lacquerwork, inro and netsuke. Books include Japanese Inro and Japanese Netsuke.
|
|
 |
|
GORDON LANG
PhD in progress at Birkbeck College, University of London.
He was formerly an expert at Sotheby’s Ceramics Department in London (1966-72, 1978-86) is Honorary Keeper of Porcelain at Burghley House, and was for many years a ceramics expert on the BBC Antiques Roadshow.
His publications include The Wrestling Boys: Catalogue of the Exhibition of Chinese & Japanese Ceramics from the 16th to the 18th Century in the Collection at Burghley House and The Powell Cotton Collection of Chinese Ceramics; he was a contributor to The Treasure Houses of Britain exhibition.
|
|
 |
|
LISA LE FEUVRE
Lisa Le Feuvre is a Curator of Contemporary Art at the National Maritime Museum and teaches on the postgraduate Curatorial Programme in the Department of Art at Goldsmiths, University of London.
Her recent curatorial projects include Avalanche 1970 – 1976 (2005 - Chelsea Space, London); Dennis Oppenheim: Recall (2006 - MOT, London); Simon Faithfull: Ice Blink (2006 - Stills, Edinburgh; Cell Project Space, London; Parkers Box, New York). Since 2006 she has curated at the National Maritime Museum the exhibitions Dan Holdsworth: At the Edge of Space, Parts 1- 3; Lawrence Weiner: Inherent in the Rhumb Line; Esther Shalev-Gerz: Echoes in Memory and Simon Patterson: the Undersea World and Other Stories.
Her recent writing projects include essays on Chris Burden, Adam Chodzko and Wolfgang Tillmans.
|
|
|
|
HENRY LYDIATE
LL.B, University of Newcastle upon Tyne.
He is a Visiting Professor of Art Law, University of the Arts, London, and a Course Consultant and Visiting Lecturer in legal, business and professional practice studies at a number of major art schools in the UK since 1978. He is a legal and business consultant specialising in the creative arts.
His publications include The Visual Artist and the Law, The Visual Artist’s Copyright Handbook, Visual Arts and Crafts Guide to the New Laws of Copyright and Moral Right. He is an author of a regular art law column for Art Monthly; collected art law articles on-line at: www.artquest.org.uk/artlaw.
Read More
|
|
 |
|
JAMES MALPAS
MPhil, Renaissance Studies, Warburg Institute, University of London; MA in English and History of Art, Cambridge University.
He is author of Realism and a contributor to exhibition catalogues at Royal Academy and elsewhere, and is a book reviewer for The Art Newspaper and course organiser for Tate Modern and Tate Britain. He broadcasts regularly for BBC Radio 3 and 4.
|
|
|
|
CATHERINE MOREL
PhD in corporate support of the arts in France, University of Sheffield.
She has devised and taught courses in marketing applied to the arts and on corporate funding of the arts at both UK and French institutions (MA in Cultural Policy and Arts Management at Sheffield Hallam University, and Major in Cultural Management, Audencia, Nantes School of Management). She is a corporate arts sponsorship advisor to the French Ministry of Culture and associate research fellow with the Chair in European Arts and Management at Bordeaux Business School.
She is the co-author of a book on art sponsorship published in 2007, and has published in journals such as the International Journal of Cultural Policy.
|
|
 |
|
ANNA MOSZYNSKA
MA in History of Art, Courtauld Institute, University of London.
She devised and taught art courses in various London colleges before initiating contemporary art studies at Sotheby’s Institute of Art–London. She has written and broadcast extensively in the field of contemporary art; her books include Abstract Art and Antony Gormley Drawings. She is currently writing a book on Anish Kapoor.
|
|
 |
|
RICHARD NOBLE
PhD in political philosophy from the London School of Economics.
His research is centred primarily on the intersection of art and politics; he is currently working on the preparation of a reader on the utopian tendency in visual art. He has recently written on a number of significant contemporary artists, including a monograph on Antony Gormley, and essays on Rachel Whiteread, Michael Craig-Martin and David Batchelor. He also teaches Critical Studies in the Visual Art Department at Goldsmiths College.
|
|
 |
|
RAYMOND NOTLEY
Raymond Notley is the Lecturer Emeritus of Sotheby's Institute of Art where he has taught there since 1987. His wide range of interests includes the history of glass and ceramics, as well as design and decorative interiors. The latter includes many aspects of Russian art and manufacture.
He has published and has curated several glass related exhibitions as well as donating items to many museums. He delivered the Robert Charleston Memorial Lecture of 1999.
|
|
 |
|
ANDERS PETTERSSON
CEMS in Management, London School of Economics and Hochschule St.Gallen, Switzerland.
He worked for JP Morgan Investment bank from 1995-1999 in London, New York and Frankfurt, where he was responsible for capital market products and coverage in the Nordic region. In 2000 he founded ArtTactic, an art market research and art market education company. He runs courses and seminars on the art market and collecting art for both financial institutions and individuals. He has also been working as a consultant for Arts & Business in London since 2002, and currently acts as an advisor to a number of companies on art business related issues.
|
|
|
| |
NOËL RILEY
MA, Sotheby’s Institute of Art-London.
A writer and consultant on the decorative arts, she completed the catalogue of the furniture at St Paul’s Cathedral, London. She is the author and curator of Country Pursuits: the Business of Ernest Beckwith, shown in the Braintree District Museum, and a book on the Regency technique of penwork, published by Oblong Press, 2007.
|
|
|
|
IAIN ROBERTSON
PhD on the emerging art markets of Greater China, City University, London in 2000.
In addition to over eighty articles for the arts press, his book, Understanding International Art Markets, was published in 2005. His latest book, The Art Business, co-edited with Derrick Chong, has just been published by Routledge. He has also written a chapter on the market for art in Taiwan for a third book: International Art Markets, published in January 2008.
He has specialist knowledge of East Asia and the relationship between art and commerce, and is an advisor to the Asia Art Archive. He also serves as Honorary Director of Education, MOCA, Beijing; and Asia Correspondent of The Art Newspaper. He writes a column on the art market for the quarterly magazine, Wealth.
|
|
 |
|
ANDREA SCHLIEKER
MA and PhD in art history, Bonn University.
She is a freelance curator, lecturer and writer. For over ten years she was curator at public galleries in Britain, including the Arnolfini, Bristol, the ICA, and the Serpentine Gallery, London, where she organised many national and international exhibitions. Recent publications include: A.K.Dolven (Kunsthall Bergen, Norway, 2004); British Art Show 6 (Hayward Gallery Touring 2005); and Nathan Coley (Mount Stuart, 2006).
Read More
|
|
 |
EDGAR SCHMITZ
Edgar Schmitz is an artist based in London.
He is the co-director of A Conversation in Many Parts, an international discursive platform for contemporary art and concepts, a tutor in Visual Cultures and Art at Goldsmiths, University of London (UK) and a curator on the Curating Architecture research cluster there. He has published catalogue texts on the work of a.o. Michael Craig-Martin, Brian Jungen, Phil Collins and Sarah Morris and is a regular contributor to Kunstforum international, Cologne (Germany) and Texte zur Kunst, Berlin (Germany).
Recent exhibitions include ebb and flow (Raid projects, Los Angeles, USA), Dictionary of War (Steirischer Herbst, Graz, Austria), Academy (Vanabbemuseum, Eindhoven, Netherlands), Liam Gillick: "Edgar Schmitz" (ICA, London, UK), London Movies (Bozar, Brussels, Belgium) and too close is good too (play, Berlin, Germany).
His book Ambient Attitudes is planned for 2009 with Sternberg Press, Berlin/New York.
|
|
|
|
BERNARD VERE
PhD (London Consortium) on the Avant-Garde in England, 1909-1939. MRes (Consortium) in Humanities and Cultural Studies. MA (Nottingham) in Critical Theory. BA (East Anglia) in Literature and Philosophy.
He has published work in a number of journals and art magazines, most recently ‘Enigma Variation: Edward Wadsworth’s “Marine Still-Lifes”’ and ‘Giorgio de Chirico’ in Visual Culture in Britain. He previously edited Eyeing London (Lawrence and Wishart, 2002) and has also published review articles and reviews in Textual Practice, New Formations and Contemporary. Has taught for Birkbeck College (University of London), London Metropolitan University and Tate.
Read More
|
|
|
|
MARCUS VERHAGEN
PhD in Art History; MA in Art History, both from University of California, Berkeley; BA in Art History, Peterhouse, Cambridge University.
He has published essays for The Nineteenth-Century Visual Culture Reader (Routledge, New York and London, 2004); Recent Sonia Boyce; La, La, La, (Reed College Gallery catalogue, 2001); Cinema and the Invention of Modern Life (University of California Press, Berkeley and London, 1995); and has written reviews and criticism for, amongst others, Annotations, Art Monthly, frieze, Modern Painters, Contemporary and Art Review.
Read More
|
|
|
|
GILDA WILLIAMS
Doctorate in architecture from the Politecnico University in Milan, and is currently working on a PhD with the Open University, titled Warhol’s Women.
She has been Editor and Commissioning Editor for Contemporary Art at Phaidon Press, London, since 1994. For Phaidon’s Contemporary Artists series she has commissioned some 45 monographs, including Louise Bourgeois, Mike Kelley, Hans Haacke, Thomas Hirschhorn, Roni Horn, Paul McCarthy and Richard Prince.
Formerly Managing Editor of Flash Art International, she is a contributor to Tate etc., Art Monthly and Parkett; publications include Art from the UK (co-author, Sammlung Goetz, 1997). Williams’ curated exhibitions including London Orphan Asylum (2000) and Strange Days: New British Photography (1997). She is also a London correspondent for the magazine Artforum.
Read More
|
|
 |
|
|
|
+44 (0) 20 7462 3232