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Noted scholars and practitioners in the art world
The Institute’s faculty is comprised of noted scholars and practitioners in the art world. Drawing upon the New York art community, our diverse faculty offers academic and theoretical insights as well as experience-based learning opportunities to guide students toward rewarding careers in the international art world.
Regular visiting lecturers include specialists at Sotheby's, whose experience and active engagement in the art marketplace imparts an immediacy to the learning process.
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LESLEY A. CADMAN
DIRECTOR, SOTHEBY'S INSTITUTE OF ART - NEW YORK
BA, Middlebury College.
Ms. Cadman served in a series of senior leadership roles at Parsons the New School for Design in New York City over more than 25 years, most recently as Vice Dean and Chief Operating Officer, and as Director of Parsons’ campus in Paris, France. Prior to joining Parsons, Ms. Cadman was Director of the Lake Placid School of Art in the Adirondack Mountains of New York State.
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 has also been an active member of the Association of Independent Colleges of Art and Design (AICAD). Her private consulting practice included strategic planning, management and organization, accreditation and search processes, focusing on art and design organizations including institutions of higher education in the arts and including international affiliations and programs.
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CARRIE REBORA BARRATT
AMERICAN FINE & DECORATIVE ART
PhD, The Graduate Center, City University of New York; MA, University of California at Los Angeles; BA, University of Illinois at Chicago.
Dr. Barratt, Associate Director for Collections and Administration at the Metropolitan Museum of Art, New York, has published and lectured widely on a variety of topics in American art. She has served as a university and college lecturer, visiting associate professor in American Art, in museology and collections management, and in curatorial studies. In her previous role as curator of American Paintings and Sculpture at the The Metropolitan Museum, she mounted numerous exhibitions including John Singleton Copley in America (1998), Gilbert Stuart (2004), and American Stories: Paintings of Everyday Life 1765-1915.
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KATHY BATTISTA
PROGRAMME DIRECTOR, CONTEMPORARY ART
PhD, London Consortium; MA, Courtauld Institute of Art; BA, Fordham University.
Kathy Battista is coauthor of Art New York (ellipsis, 2000) and Recent Architecture in The Netherlands (ellipsis, 1998), as well as editor and author of Haluk Akakçe: Reincarnation (gallerist, 2009). Her doctoral research examined the work of feminist artists in 1970s London and her essays have appeared in the following edited collections: Ladies and Gents: Public Toilets and Gender (Temple University Press, 2009); Arcade: Artists and Placemaking (Black Dog, 2006); Surface Tension: Supplement 1 (errant bodies, 2006) and Surface Tension: Problematics of Site (errant bodies, 2003). Dr. Battista is a regular contributor to the journals RES Art World and Art Monthly and is on the editorial board of Art & Architectural Journal. She has taught at Birkbeck College, Kings College, the London Consortium, the Ruskin School of Art, Oxford University, and Tate Modern. She founded the Interaction program for the public art agency Artangel and she was a Postdoctoral Fellow of The London Consortium at Tate Modern.
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JONATHAN CLANCY
PROGRAMME DIRECTOR, AMERICAN FINE & DECORATIVE ART
PhD, The Graduate Center, City University of New York; BA, Rutgers University.
Dr. Clancy’s current research interest examines Transcendentalism as a cultural phenomenon and explores its effect on American fine and decorative arts. Recently, he has lectured and published on a variety of subjects including: the Arts and Crafts movement in America, Martin Johnson Heade and the Hudson River School, and American art pottery. He is co-author of The Beauty of Common Things: American Art Pottery from the Two Red Roses Foundation (2008) and contributed the text to Warman’s Rookwood Pottery (2008).
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PETER KATZ
ART BUSINESS
MBA, Stern School of Business, New York University; BA, Trinity College.
Peter Katz is Finance Director at the Neue Galerie New York, a museum for Austrian and German art. He has held similar financial positions at several top museums and universities, including the Museum of Modern Art, the Guggenheim Museum and Polytechnic University.
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NOAH KUPFERMAN
ART BUSINESS
MBA, The Leonard N. Stern School of Business, New York University; MA, School for International and Public Affairs, Columbia University; BA, Oberlin College.
Noah Kupferman is Vice President and Private Client Manager with US Trust, Bank of America Global Wealth Management. He serves the wealth management needs of high net worth clients, which includes looking at fine art collections as potential sources of liquidity. He specializes in customized lending, providing liquidity management and investment and trust management solutions for his clients. Before entering banking and finance he was the Specialist-in-Charge of the Chinese Paintings and Calligraphy Department at Sotheby’s in New York.
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MELANIE MARIÑO
CONTEMPORARY ART
PhD, Cornell University; MA, Institute of Fine Arts, New York University; BA, Columbia University.
Dr. Mariño’s areas of specialization are modern and contemporary art, history of photography, critical theory, and globalization studies. She has recently published on the work of Santiago Sierra and Shahzia Sikander. She previously taught at the University of Wisconsin, and at the School of Visual Arts in New York City, and worked in research and curatorial capacities at the Whitney Museum of American Art and the Guggenheim Museum.
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TOM McNULTY
ART BUSINESS, CONTEMPORARY ART, AMERICAN FINE & DECORATIVE ART
MA, New York University; MLS, City University of New York.
Tom McNulty is an independent art researcher whose subjects include provenance and valuation of fine and decorative arts and collectible objects. As an appraiser he specialises in nineteenth and twentieth century paintings, drawings, sculpture and prints for major estates, foundations, insurance companies, and legal firms.
He is the author of Art Market Research: A Guide to Methods and Sources and of articles on research, art documentation, and information access.
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VICTORIA MIGUEL
CONTEMPORARY ART
MA, Liberal Studies, New School University; MA, (Hons) History of Art, University of Edinburgh.
Victoria Miguel is a freelance curator and writer based in New York. Her curatorial projects have included exhibitions and film series on the work of the American composer John Cage (1912 -1992), the choreographer Merce Cunningham and most recently the British artist Richard Hamilton for Inverleith House in Edinburgh, Scotland. She has written about art and music and is a regular contributor to newspapers and journals, including The Glasgow Herald and Map Magazine. She is currently working on her PhD at the New School University.
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STEPHAN PASCHER
CONTEMPORARY ART
MFA, Art and Critical Studies, California Institute of the Arts; BA, Oberlin College; BFA Cooper Union.
Stephan Pascher is an artist, writer, and educator. He has exhibited extensively in both the US and Europe, most recently at Orchard (NY), CIFO (Miami), Steven Wolf Gallery (San Francisco), and Passagen Konsthall (Linköping, Sweden).
Mr. Pascher’s writings have appeared in Afterall, Merge Magazine, Springerin, Metropolis, a collection entitled “The Museum as Arena” (Walther König), and others. He’s lectured and appeared on panels including those at the Santa Monica Museum of Art, ARCO (Madrid), CAA, the Drawing Center, and Bard College, and has taught at The School of Visual Arts, The School of the Art Institute of Chicago, the University of Chicago, Columbia College Chicago, Columbia University, Malmö Art Academy, Rutgers University and the Cooper Union.
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AMELIA PECK
AMERICAN FINE & DECORATIVE ART
MS, Historic Preservation, Graduate School of Architecture and Planning, Columbia University; BA, Brown University.
Marica F. Vilcek Curator, Department of American Decorative Arts, Manager, The Henry R. Luce Center for the Study of American Art, The Metropolitan Museum of Art, Ms. Peck is a specialist in American textiles and interiors. She has published widely, and has curated exhibitions on American Quilts (1990), Alexander Jackson Davis (1992) and Candace Wheeler (2001). Her most recent major project was the renovation of the Met’s American Period Rooms (2009). She serves on the editorial board for Winterthur Portfolio and has taught for the Parsons/Cooper Hewitt Program in the Decorative Arts and Design and at the Bard Graduate Center.
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LOWELL PETTIT
CONTEMPORARY ART
BA, Studio Art and Art History, Wesleyan University.
Lowell Pettit is a contemporary art advisor, independent curator, and educator. He has worked for galleries, dealers, and collectors both here and abroad, and has lectured on the history and business of art for various institutions including: the Metropolitan Museum of Art, the Museum of Modern Art, the Guggenheim Museum, Sculpture Center, Credit Suisse, McKinsey, Tiffany & Co., New York University, FIT, and Christie's Education. Mr. Pettit has been featured in publications including the New York Times, Fortune, Forbes, ArtNews, and The International Art Newspaper, and he is a member of the New Art Dealers Alliance (NADA) and the International Association for Professional Art Advisors (IAPAA).
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JUDITH B. PROWDA
ART BUSINESS
LLM, New York University School of Law; JD, Fordham University School of Law;
MA, International Relations, Johns Hopkins University School of Advanced International Studies; MA, French, Middlebury College; AB, Sarah Lawrence College; Certificate, l’Institut d’Etudes Politiques, Paris.
Judith Prowda is an attorney, mediator and arbitrator focused on art law, copyright, entertainment and commercial law. She serves as Chair of the Entertainment, Arts & Sports Law Section of the New York State Bar Association, Chair of the Section’s Committee on Fine Arts and Co-Founder and Co-Chair of the Committee on Alternative Dispute Resolution. In addition, she is a member of the Art Law Committee of the New York City Bar Association.
As a leader in the intellectual property field, Ms. Prowda has consulted on intellectual property in Paris and at the World Intellectual Property Organization in Geneva. Her law articles have appeared in numerous law reviews and journals and have garnered prestigious awards. She is a Member of the Editorial Board of the Journal of the Copyright Society of the U.S.A.
Prior to studying law, she was a reporter in the World Section at Time magazine and French-English interpreter at the U.S. Department of State.
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STEVE PULIMOOD
CONTEMPORARY ART
MA, Oxford University (Ph.D candidate); BA, Columbia University.
Steve Pulimood is an art critic and scholar. He has contributed research and writing to publications including 1001 paintings you must see before you die (2006) and a Royal Collection catalogue entitled The Art of Italy (2007). In addition to his broad range of interests in art history, Pulimood regularly publishes his criticism on contemporary art in major US and international magazines including Art in America, Modern Painters, and ArtReview.
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MARY ROZELL
PROGRAMME DIRECTOR, ART BUSINESS
MA, Modern Art (German Expressionism), Courtauld Institute of Art; JD, from Pepperdine University School of Law; BA, Hamilton College. She is also a member of the 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, a curator of contemporary art, and a consultant to galleries and Villa Grisebach Auctions. She wrote and lectured extensively about the emerging art scene and architectural landscape, and is the author of numerous journal articles, catalog essays, and translations. She is currently writing a book on post-Wall Berlin.
Ms. Rozell has also served as the Director of the European Studio Programme for the ACC Galerie/City of Weimar, Managing Director of the Swiss Institute-Contemporary Art, and as director of a major private art collection and related foundation.
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BARBARA STRONGIN
ART BUSINESS
BA, Business Administration, Rutgers University.
Ms. Strongin served as Senior Vice President/Director of Operations for Christie’s Auction House over the course of twenty-six years where she created and taught classes on the auction process and related regulations for new staff members. She is a Licensed Auctioneer in New York, and assisted New York City Consumer Affairs Department in rewriting regulations governing auctions.
Ms. Strongin currently serves as Director of Administration at Sotheby’s Institute – NY. She teaches the Auctions and Operations courses for all three NY programs and has lectured for the London and Singapore campuses.
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AMY SMITH-STEWART
CONTEMPORARY ART
MA, Contemporary Art, University of Manchester/Sotheby's Institute of Art-London; BA, Art History, New York University.
Amy Smith-Stewart is the Founder/Curator of Smith-Stewart, a nomadic curatorial project in New York, and an independent curator. She has organized more than 50 exhibitions in museums and galleries. She was Curator at P.S.1 Contemporary Art Center/The Museum of Modern Art, New York from 2002-2006. She was a Curatorial Advisor for the Mary Boone Gallery where she organized a series of group exhibitions introducing a new generation of artists to the Gallery. Smith-Stewart was the 2006-2008 Guest Curator for the Peter Norton Collection. She is a faculty member in the MFA Fine Arts Department at the School of Visual Arts, New York.
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ANDRÁS SZÁNTÓ
ART BUSINESS
PhD, Columbia University; MA, Columbia University; BA, Budapest University of Economics.
Andras Szanto is a writer, researcher, and consultant whose work spans the worlds of art, media, policy, and cultural affairs.
He is the former Director of the National Arts Journalism Program at Columbia University, where he also directs the NEA Arts Journalism Institute at the Journalism School. He has been the Marian and Andrew Heiskell Visiting Critic at the American Academy in Rome, a visiting senior fellow at the Center for Arts and Culture, an arts-policy think tank in Washington D.C., and a Research Affiliate of the Center for Arts and Cultural Policy Studies at Princeton University.
A regular contributor to The Art Newspaper, his writings have appeared in the The New York Times, The Los Angeles Times and many other publications. He is a co-founder of ArtWorldSalon, an online publication devoted to art-world affairs. He lectures frequently and advises cultural and philanthropic institutions worldwide.
 Listen to Andras Szanto's interview on Studio 360 website on the future of arts journalism.
Read Andras Szanto's article in The Art Newspaper on the future of arts journalism.
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AUDREY WALEN
CONTEMPORARY ART
Ms. Walen is an independent visual art writer, researcher, and museum publishing professional. She specializes in all aspects of museum publishing, with particular expertise in modern and contemporary art. Previously she has served as the Publications Manager for the Hirshhorn Museum and Sculpture Garden, and Project Editor with Phaidon Press London, among others.
Her writing has appeared in numerous art journals, and she recently contributed to Urban Vinyl (Goliga Books, Tokyo). Current clients include the Neue Galerie New York, The Museum of Modern Art, the Jewish Museum, and the Metropolitan Museum of Art.
MA, Visual Culture Studies, Middlesex University;
BFA, Cooper Union
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+1 212 517 3929