Summer Study - Sotheby's Institute of Art

E59th
The Graduate School of
Art and its Markets
MASTER’S DEGREES
SEMESTER STUDY
SUMMER STUDY
SHORT COURSES
PUBLIC PROGRAMMES
ONLINE COURSES
EXECUTIVE EDUCATION
E60th

The Graduate School of
Art and its Markets
MASTER’S DEGREES
SEMESTER STUDY
SUMMER STUDY
SHORT COURSES
PUBLIC PROGRAMMES
ONLINE COURSES
EXECUTIVE EDUCATION

Contents
4 A Letter from the President
7 About the Institute
9 Many Paths of Study
10 Master’s Degree Programmes
Art Business
Contemporary Art
Fine and Decorative Art
American Fine and Decorative Art
Contemporary Design
East Asian Art
Photography
Interior Design Option
32 Doctor of Philosophy
33 The Libraries
34 Academic Travel
36 Careers
38 Alumni
42 Master’s Programme Admissions
45 Scholarships and
Financial Assistance
46 Semester Study
51 Summer Study
54 Short Courses And
Public Programmes
56 Online Courses
60 Executive Education
61 Hong Kong
62 London and New York
68 ABOUT OUR Campuses
70 History
71 Frequently Asked Questions
London
admissions@sothebysinstitute.com
Tel: +44 (0)207 462 3232
Fax: +44 (0)20 7580 8160
30 Bedford Square, Bloomsbury
London, WC1B 3EE, UK
New York
admissions@sothebysinstitute.com
Tel: +1 (212) 517 3929
Fax: +1 (212) 517 6568
570 Lexington Avenue, 6th Floor
New York, NY 10022, USA
3

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 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.
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.
“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.”
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 impressionists—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, today’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 Levy
President, Sotheby’s Institute of Art
BA, Columbia College, Columbia University; MA, PhD,
New York University; DFA (Hon), New School for Social
Research; DFA (Hon), Cedarcrest College.
Prior to joining Sotheby’s Institute of Art, Dr. Levy served
as President & Director of the Corcoran Museum &
College of Art from 1991–2005, as Chancellor of the
New School University 1989–1991, and Executive Dean
and CEO at Parsons School of Design from 1970–1989.
He is a Trustee of the Alliance for Young Artists and
Writers, served on the Board of the National Foundation
for Advancement in the Arts for 28 years, and was
a founding Trustee of the National Jazz Museum in
Harlem. He was designated a Chevalier des Arts et des
Lettres by the Republic of France and awarded the New
York State Regents Award for Distinguished Leadership
in Higher Education.
—David Levy
5

(top) Bedford Square, London
(bottom) Students at Sotheby’s Institute of Art—New York

About the Institute
The Graduate School of Art AND Its Markets
Since 1969, Sotheby’s Institute of Art has pioneered
the education of arts professionals whose careers
have placed them at the centre of the international
art world. With campuses in London, New York and
Online, Sotheby’s Institute offers graduate-level
programmes and academic courses that uniquely
integrate art historical scholarship, object-based
learning, professional engagement and market
expertise. Through many paths of study, graduates
of Sotheby’s Institute gain the knowledge and
credentials needed for success in today’s worldwide
art markets and cultural institutions.
As a leading international centre for advanced art
education, Sotheby’s Institute of Art draws passionate
students from all over the world who are eager to
study in the cultural capitals of London and New York.
The Institute’s distinctive 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 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 and the institutions
that house them through field study trips to museums,
galleries, auction houses, and private collections
around the globe.
Sotheby’s Institute offers many paths of study such as
programmes leading to PhD and MA degrees, as well
as Online courses that are available to people anywhere
in the world and offer a convenient introduction
to a variety of art subjects.
Degrees from the Institute’s London campus are
awarded by the University of Manchester. In New
York, degrees are granted pursuant to the authority of
the Regents of the State of New York. The New York
Institute is accredited by the National Association of
Schools of Art and Design.
The Quality Assurance Agency for Higher Education
(QAA) is an independent agency which is responsible
for upholding quality and standards in UK universities
and colleges, including such premier academic institutions
as the University of Oxford and the University
of Cambridge. In 2012 Sotheby’s Institute of Art—
London underwent a successful review by the Quality
Assurance Agency which has resulted in confirmation
of the Institute as a Highly Trusted Sponsor.
7

Many Paths
of Study
Sotheby’s Institute of Art offers a variety of programmes
to accommodate all levels of interest in art historical
scholarship and art business—from full-time degreeearning
programmes to short courses for personal
enrichment and much more.
Through various paths of study, our graduates gain
the knowledge and credentials needed for success in
today’s worldwide art markets and cultural institutions.
Paths of Study
Master of Arts (MA)
Postgraduate Diplomas (PgDip)
Graduate Certificates
Doctor of Philosophy (PhD)
Semester Study
Summer Study
Short Courses and Public
Programmes
Online Courses
Executive Education
9

Master’s Programmes
An object-based approach to teaching is a distinguishing
feature of Sotheby’s Institute of Art and a cornerstone
of its programmes. Students learn through first
hand examination of artworks in galleries, museums
and private collections, using the art itself as a starting
point for understanding art historical and market
contexts. Programmes are taught by highly-respected
scholars, practitioners and distinguished visiting
professors who provide students with a breadth of
knowledge and experience, as well as an opportunity
to develop a network of professional relationships.
The Institute’s Master’s programmes are offered in
London and New York and include travel to major art
fairs, exhibitions, museums and collections in Europe,
the US and Asia. Students are able to experience art
and objects in historical, contemporary and market
contexts and to gain regional knowledge of particular
areas of study.
We offer the following Master’s programmes in
London and New York:
Art Business (London, New York)
Contemporary Art (London, New York)
Fine and Decorative Art (London)
American Fine and Decorative Art (New York)
Contemporary Design (London)
East Asian Art (London)
Photography (London)
Interior Design Option (New York)
The MA requires the successful completion of two
semesters of coursework, plus a research-based
dissertation (Master’s thesis) completed in an
independent study semester with guidance by the
Institute’s faculty, or the completion of a third
semester of study.
Postgraduate Diploma and
Graduate Certificate
A two-semester Postgraduate Diploma (PgDip) in
London and Graduate Certificate in New York is
available to students who complete the required
coursework for the MA but who do not wish to write
a Master’s Degree Thesis/Dissertation.
Interior Design Option
Students in New York may also elect to spend a second
year studying at the New York School of Interior
Design. This specialized programme offers a unique
opportunity to combine a Master’s Degree with a
Basic Certificate in Interior Design.
Third Semester Option
Students at both campuses may elect to enroll for
a third semester in the Autumn at the New York
campus, following the completion of first year
coursework. As an additional option, New York students
may elect to complete their third semester in
London. In lieu of writing a Master’s thesis, this third
semester includes: two more units of coursework,
participation in study travel, and completion of a
Master’s Project. London students who elect to study
for a third semester in New York will receive their
degree from the New York campus.
Degree Validation
London Master’s Degrees are validated by the
University of Manchester, one of the largest and most
prestigious universities in the U.K. The Institute in
New York holds degree-granting authority from the
Regents of the State of New York and has been
an accredited member of the National Association
of Schools of Art and Design since 1989.

Sample Programme Structure:
MA in Art Business, London
pre-semester semester 1 intensive 2 wks: dec–jan semester 2 semester 3
introduction to art history
for business students
introduction to excel &
Maths for art history students
research day
international art markets: private sector
art business: management and marketing
Ethics in the art world
RESEARCH DAY
professional practice
research methods
research day
international art markets: PUBLIC SPHERE
art business: FINANCE and INVESTMENT
LAW IN THE ART WORLD
RESEARCH DAY
Dissertation/Thesis
or Third Semester
Option
Jonathan T.D. Neil, lecturer in Art Business and Contemporary Art
11

Art Business
London
Master’s Degree
PostGraduate Diploma
“In 1958 on the tenth of October
the modern art market was
born between 6 o’clock and six
thirty. It’s very rare you can actually
date a change in the marketplace,
a revolution. It took a half an hour.”
—James Stourton, Sothebys UK
London is at the centre of the global art and antiques
market, where dealers trade in British, European, Asian
and Indian art. This $60 billion plus industry employs
hundreds of thousands of professionals in small and
medium-sized businesses as well as a number of large
enterprises including auction houses, galleries, investment
banks, insurance companies and other specialist
service suppliers to the market.
The Art Business programme in London is
not a business degree but rather a degree in the
business side of art. It is designed for students with
an art historical background who want to understand
business theories and practice, as well as the
technical and structural elements of the art market.
An important theme of the programme is its analysis
of a wide range of art market sectors. Students
learn how to evaluate and market art objects from
antiquity to the present day and participate in a large
number of visits to museums, galleries and other
cultural institutions in London and abroad.

Sample Courses Semester 1
International Art
World: Private
Sector and
Public Sphere I
Ethics and Law in
the Art World I*
Art Business,
Finance and
Investment I*
Research Methods
for Art Business:
Quantitative and
Qualitative
Semester 2
International Art
World: Private
Sector and Public
Sphere II
Ethics and Law in
the Art World II
Art Business,
Finance &
Investment II
Professional
Practice for Art
Business
Semester 3
Dissertation
(MA only)
*Ethics and Law in the Art World I
This unit introduces students to the ethical and legal issues
pertinent to the world of art business. In the Ethics section,
issues surrounding the production, acquisition and consumption
of art, in both the private and public spheres, are
discussed and debated. In the Law section, the theory and
practice of law in art business is introduced and expounded
using relevant case studies and topical examples.
*Art Business, Finance and Investment I
This unit introduces students to the fundamentals of the
business of art. The first half of the unit focuses on issues
of management and marketing by introducing the tools
and techniques required to appreciate and undertake
strategic business planning. The second half of the unit will
introduce a new way of thinking about art—as an asset
and investment opportunity—using the language of the
financial services and investment community as well as the
commercial market place.
David Bellingham
Programme Director, MA in Art Business, London
PhD, University of Manchester; BA (Special Honours) in Latin &
Classical Archaeology, University of Birmingham. David Bellingham
lectures on ethics, antiquities, professional practice and public
sector themes in the art market. He has published 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 iconography of Botticelli; authenticity
issues surrounding the paintings of Frans Hals (due 2012); and the
ethical reception of the Riace Bronzes (due 2013). He is currently
completing An Introduction to the Art Market (due 2013).
Iain Robertson
Head of Art Business Studies, London
PhD City University, London. 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
and a third book, A New Art from Emerging Markets was published
in 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.
13

Art Business
New York
Master’s Degree
Graduate Certificate
The Art Business programme in New York
produces graduates who have a sophisticated, contextual
and nuanced understanding of the international
art market and who are prepared to enter the
diverse art and market-related fields with a confidence
based in knowledge. While grounded in art history,
the programme is designed for students who seek
an alternative to the traditional academic model and
desire advanced study in sync with the rapidly evolving
global art market. Particular emphasis is placed on
the nature and growth of art and art business practices
post-World War II to the global business that art has
become in the early 21st century.
Through a unique combination of rigorous academic
instruction and real world learning during two
semesters of intensive study, students gain insight
into the mechanics, underpinnings, and nuances of
the art world. Core courses in business, art law, and
the international art market provide students with
essential skills and a deep understanding of how these
fields affect the business of art. Along with national
and international study travel to vital art world destinations
and events, the programme provides a singular
platform for students to learn directly from a broad
spectrum of leaders in the field, including auctioneers,
dealers, collectors, consultants, museum directors,
curators, and critics.

Sample Courses Semester 1
Principles of
Business I: Finance
and Economics
Introduction to
Art Law*
The International
Art Market
Art Market
Research and
Valuation*
Field Study
Semester 2
Principles of
Business II:
Strategy and
Marketing
Field Study
Electives:
Global Art
Production:
1990–Present
Latin American
Art: Modernism to
Present
Professional
Practices: The
Auction Business
Professional
Practice: Art
Collection
Building and
Management
Semester 3
Thesis or 3rd
Semester in second
area of study with
Master’s Project
(MA only)
*Introduction to Art Law
This course introduces students to the legal problems and issues
specific to the art market. A central aim of the course is to develop
strategies for problem-solving in an art business environment,
such as the everyday running of an art gallery or related art
business, and working in an auction house, private collection
or museum.
*Art Market Research and Valuation
This course is comprised of two modules: Research and Valuation.
In the three-week Research Module, students are presented
with the tools, methods and skills required by art business
researchers. In addition to rigorous training in visual arts research,
students are exposed to materials and research skills including art
law, business, communications and marketing. In the Valuation
Module, students employ and reinforce their research skills by
applying them to the task of appraising works of fine art, decorative
arts, and collectible objects.
Mary Rozell
Programme Director, MA in Art Business, New York
MA, Modern Art (German Expressionism), Courtauld Institute
of Art; JD, Pepperdine University School of Law; BA, Hamilton
College; member, California and District of Columbia Bar. 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.
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.
“If ever there was a work of art of true shock and awe, it
is Edvard Munch’s The Scream, which is not only one of
the seminal images from art history, but also one of the
visual keys to the modern consciousness. We are delighted
to say that this magnificent picture achieved a new world
record at Sotheby’s for any work of art when it sold for
$119.9 million in 12 minutes.”
—Simon Shaw, Senior Vice President and Head of Sotheby’s Impressionist
& Modern Art department, New York
15

CONTEMPORARY ART
London
Master’s Degree
PostGraduate Diploma
“This is a context based process—and about
the ephemeralness of what contemporary art
can sometimes be—because what seemed
marginal or outside the context of the market,
is now mainstream at major institutions.”
—Anthony Downey
The Contemporary Art programme in
London covers the period from 1960 to the present
and is directed at students who wish to develop
an in-depth understanding of contemporary art while
honing their professional skills. It focuses on the art
object itself, which is examined in relation to its
cultural, institutional, and political contexts. From
the beginning, students study canonical figures and
major movements in the 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, lectures, and study
travel around London and other European cities
where they visit major collections, galleries and
biennials. In the gallery and in the classroom, attention
is paid not just to art works but to the curatorial
strategies that direct our experience of them and the
institutional contexts in which they are displayed.
Graduates benefit from the global scope of the programme
and pursue a variety of careers in the world
of contemporary art.

Sample Courses
Semester 1
Art from
1960–1990*
Critical issues in
contemporary art
Curating an
exhibition in both
public and private
galleries
Producing a print
and web-based
magazine
Writing and publishing
art criticism
Research
methodology
Study visits to
North of England
and Northern
Germany
International guest
lecture series and
artists’ studio visits
Semester 2
Art from 1990 to
the present day
Art and its
Practices
Network Studies*
Globalisation and
art practices
Art, criticism and
contemporary
literature
Research seminars
and presentations
Key global artists,
key international
exhibitions
Research methodologies
and critical
theory
Art law and
business
Contemporary
practices and concerns:
the artist’s
medium, site-specificity,
participation
International guest
lecture series and
studio visits
Study visit to
European Biennial
and exhibitions
Semester 3
Dissertation
(MA only)
*Art from 1960–1990
This course is designed to give students the context and knowledge
they need to understand the history of art from 1960–1990.
Specific emphasis is placed on the development of art and its
relationship to the historical events (the Cold War, 1968, 1989,
etc.), social developments (consumerism, globalization, mass
media, etc.), and philosophical enquiries (existentialism, situationism,
phenomenology, feminism, etc.) that underwrote the period
1960–1990.
*Network Studies
Network Studies introduces the students to the way in which the
contemporary art world creates, sustains and expands social,
cultural and artistic networks. Networks can operate on a number
of levels; art institutions establish their relationships to the wider
public and artistic community through outreach programmes,
urban interventions and special commissions, such as the Unilever
series at Tate Modern’s Turbine Hall. The example of Guggenheim
Bilbao demonstrates that in recent years contemporary art has also
become a key element for urban regeneration and development.
Most importantly, the exponential growth of art biennials has helped
to establish a global art scene and to accelerate the circulation of
curatorial ideas as well as artistic production.
Networks are of course dependent on economics; hence the effect
of art fairs, gallery ‘clusters’ and funding strategies will be examined
along with legal questions around copyright and artist’s contracts.
Anthony Downey
Programme Director, MA in Contemporary Art, London
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.
17

CONTEMPORARY ART
New York
Master’s Degree
“If you want to know all about
Graduate Certificate
Andy Warhol, just look at the
surface of my paintings and films
and me, and there I am. There's
nothing behind it.”
—Andy Warhol, artist
Examining art movements, markets and patrons from
1945 to the present, the Contemporary Art
programme in New York emphasizes a formal
and critical analysis of art in a historical context.
The curriculum combines art historical 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 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 collections, museums
and foundations, to establishing independent galleries,
to working as curators, appraisers, critics, editors,
and more.

Sample Courses Semester 1
Contemporary Art:
1945–Present
Theories of
Post-War Art*
Works of Art from
Studio to Museum
Research
Methodologies:
Writing about
Contemporary Art
Field Study
Semester 2
Global Art
Production:
1990–Present*
Theories of
Contemporary Art
Research
Methodologies
(For Thesis Track
Students Only)
Field Study
Elective(s) (For
Graduate Certificate
or 3rd Semester
Students)
Modern and
Contemporary Art:
Markets, Histories,
Theories
Curating
Contemporary Art*
Art Writing
Seminar: Criticism
and Journalism
Semester 3
Thesis or 3rd
Semester in second
area of study with
Master’s Project
(MA only)
*Theories of Post-War Art
This course surveys the theoretical foundations of developments
in art from 1945 to the present exploring ideas that stem from
Abstract Expressionism and the establishment of the American
Art World, which have been instrumental to the evolution of
post-war art and continue to influence contemporary art theory
and practice. These seminars also provide a broad introduction
to the theories of structuralism, semiotics, post-structuralism, and
postmodernism, which will be treated in greater detail in ‘Theories
of Contemporary Art’ in the spring. This is the first term offering of
a two-term course.
*Curating Contemporary Art
Focusing on curatorial strategies, from commissioning public
art projects to architecture, fashion and design exhibitions, this
course aims to form a critical eye to analyzing and creating
exhibitions, education programmes, or performance. Students
are armed with a basic knowledge of curatorial strategies in the
contemporary arts. By the end of the term, students will be able
to conceptualize and propose an exhibition or series of performances
appropriate to their chosen site as well as to write an
accessible catalogue essay for their project.
Kathy Battista
Programme Director, MA in Contemporary Art, New York
PhD, London Consortium; MA, Courtauld Institute of Art; BA, Fordham
University. In addition to her role at Sotheby’s Institute of Art, New York,
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
programme for the UK-based public art agency Artangel.
19

Fine and Decorative Art
London
Master’s Degree
PostGraduate Diploma
The Fine and Decorative Art Programme
in London is taught from the perspective of an art
expert with attention paid to the history and practice
of connoisseurship.This programme has been
offered in London for over forty years and is based on
Sotheby’s Auction House’s original training scheme.
The programme’s approach is object-based and often
object-specific. Case studies in Old Master paintings,
modern art, furniture and ceramics from the
Renaissance to the present day form the core curriculum,
along with the development of professional
skills for attributing and cataloguing works of art,
culminating in the House Sale project, which closely
mirrors the auction house environment.
The defining characteristic of this programme is its
frequent and regular visits to museums and galleries,
the auction house, and country-house collections
for first-hand observation of art objects. The visual
and hands-on approach, supported by a thorough
grounding in materials and techniques, gives a firm
foundation for postgraduate research and the excitement
of exploring the material culture of the past.

Sample Courses Semester 1
Old Master Painting
I*
Modern Art I
Ceramics and
Trade I
Furniture and
Interiors I*
Research
Methodology
Semester 2
Old Master Painting
II
Modern Art II
Ceramics and
Trade II
Furniture and
Interiors II
Research
Methodology
Professional
Practice: The
House Sale
Semester 3
Dissertation
(MA only)
*Old Master Painting I
This course focuses on centres such as Venice, Rome and
Antwerp to examine the relationship between paintings and the
circumstances, both practical and sociological, of their production.
Lectures consider the methods of learning and practising the
craft of painting in the period before the mass production of art
materials, and the various ways in which workshops functioned.
The course also examines ways in which expert opinion determines
attribution and authenticity—the heart of connoisseurship.
This includes work on questions of condition and restoration. In
Semester II, the focus is on the increasing complexities in the seventeenth
century of the relationships between artists of different
centres and the social and religious differences of their countries
of origin and practice.
*Furniture and Interiors I
Students explore canonical objects, relevant designs, and interiors
from the 16th through the 20th centuries. Specialist vocabulary,
the fundamentals of descriptive language and cataloguing, and
principal techniques and materials applied to traditional furniture
production are introduced, as are key architectural and design
developments. The evolution of veneered cabinet furniture with
sumptuous, imported timbers such as ebony and rosewood and
imitative techniques of luxury goods such as lacquer and tortoiseshell
have made a significant impact on European furniture which,
like ceramics, tracks the impact of global trade as an important
driver of stylistic change.
Chantal Brotherton-Ratcliffe
Programme Director, MA in Fine & Decorative Art, London
PhD, Warburg Institute, London; MA, Edinburgh University. Chantal
Brotherton-Ratcliffe’s areas of expertise are sixteenth and seventeenth
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.
“Some objects do seem to retain the pulse
of their making...There is a breath of
hesitancy before touching or not touching,
a strange moment. If I choose to pick up
this small white cup with its single chip near
the handle, will it figure in my life?”
—Edmund de Waal, The Hare with Amber Eyes
21

American Fine and
Decorative Art “The fundamental currency of
New York
the art market isn’t the dollars,
Master’s Degree
Graduate Certificate euros, or pounds exchanged for
works of art. It’s the intimate
knowledge of objects and the
critical skills to interpret them.”
—Jonathan Clancy
Through an integrated programme of lectures,
seminars, object study, museum and gallery visits,
and practical work, the American Fine and
Decorative Art programme in New York
explores the full range of American artistic production
from the colonial period through 1945. The
methodology blends traditional classroom lecturing
with hands-on, object-based learning which brings
students into direct contact with the objects they are
studying. Through observation, comparison, and
analysis, students learn the major artists and movements
in a variety of media: painting, sculpture,
furniture, ceramics, glass, silver, textiles, and more.
The core curriculum builds connoisseurship skills
while examining the diverse 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,
and the weight of an object in hand. Learning from
leading scholars, curators, and dealers, students
emerge with a first-rate education and are exposed to
a network of experts that is unsurpassed.

Sample Courses Semester 1
History of American
Fine Art 1670–
1850*
History of American
Decorative Art
1630–1850
Techniques and
Materials of Art
Methodologies of
Research
Field Study
Semester 2
History of
American Fine Art
1850–1950
History of American
Decorative Art
1850–1950
Research Seminar
Collection
Management and
Connoisseurship*
Field Study
Semester 3
Thesis or 3rd
Semester in
second area of
study with Master’s
Project (MA only)
*History of American Fine Art 1670-1850
This course covers American painting and sculpture from the
colonial period through 1860. Students learn about major artists
of the period—including John Smibert, Benjamin West, John
Singleton Copley, Gilbert Stuart, Thomas Cole—while studying the
period’s stylistic developments. The course uses a combination of
lecture, seminar, object study, museum and gallery visits.
*Collection Management and Connoisseurship
This course gives students the opportunity to use their art historical
knowledge and connoisseurship skills while engaging the art
market and learning the nuts and bolts of collection building.
From creating a rationale, to selecting objects for purchase, to
identifying shipping, storing and insurance costs, students emerge
with a better understanding of the myriad business opportunities
within the art market, as well as better understand the practical
side of collection building. Emphasis is placed on working with art
databases, tracking down objects for purchase, and developing a
cogent rationale for the collection. This course also covers modern
materials connoisseurship and examines the materials of 20th
century art.
Internship: Winter Antiques Show
The American Fine and Decorative Art Programme partners each
year with the Winter Antiques Show, providing the opportunity
for students to learn first-hand the operations side of art fairs.
Beginning in the fall semester, students meet with the show’s
director who shares its history, introduces them to the charity
the show benefits, and familiarizes them with the dealers at the
upcoming event. For two weeks in January, students staff the
show office and assist with its management, helping to organize
events, lead tour groups, and interact with the dealers, event staff
and public to assure that the show runs smoothly. Students not
only gain practical work experience, but also build their professional
networks, learning skills that will benefit them in their
careers and introducing them to models of business that are not
part of traditional art history master’s programmes.
Jonathan Clancy,
Programme Director, MA in American
Fine and Decorative Art, New York
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 Mid-Century (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.
23

Contemporary
Design
London
Master’s Degree
PostGraduate Diploma
The Contemporary Design programme
combines academic study of 20th century and contemporary
decorative arts with an exploration of the
professional design world. Furniture, ceramics, glass,
patterns, metalwork, jewellery and dress from the Art
Nouveau period to the pluralism of the present day
are examined in relation to architecture and interiors
and wider theoretical and contextual issues. The interrelationship
between the fine and decorative arts is a
strong theme throughout the programme.
The course promotes an object-based methodology
and the development of visual, analytical and interpretative
skills that are relevant to a range of careers.
Visits to museums, houses, galleries, auction houses,
design fairs and studios, together with study tours
to Paris and the Netherlands, provide opportunities
to examine objects first hand and to assess the
market for 20th century and contemporary design.
Throughout the programme, contact with practitioners
in the field introduces students to aspects of the
professional design world.

Sample Courses Semester 1
Design 1900–1939:
History, Theory and
Market*
Design 1940–1980:
History, Theory and
Market (Part I)
Academic and
Professional
Practice
Semester 2
Design 1940–1980:
History, Theory and
Market (Part II)
Design since 1980:
History, Theory and
Market
Academic and
Professional
Practice*
Semester 3
Dissertation
(MA only)
*Design 1900–1939: History, Theory & Market
Through lectures, seminars and visits, this course provides an
overview of the movements, individuals, objects and ideas associated
with the history of avant-garde western (and, where appropriate,
American) design, decorative art and craft from c.1900 to
the outbreak of the Second World War II. The material is explored
chronologically and commences with the Arts and Crafts Movement,
Art Nouveau and National Romanticism. It moves on to examine the
influence of developments in avant-garde fine art, and the contribution
of painters to design in the early 20th Century. The emergence
of European Modernism is a particular focus of study and is contrasted
with more conservative, but contemporary, developments in
France, notably the Art Deco style and French Modernism.
*Academic and Professional Practice
This unit facilitates the acquisition of sophisticated skills in the
observation, research and critical interpretation of a range of
designed objects, and in terms of written and spoken presentations.
Further, it includes instruction on, and discussion of, the knowledge
and skills that are essential for working within a variety of academic
and professional decorative art, design and craft contexts.
Lis Darby,
Programme Director, MA in Contemporary Design, London
PhD, Courtauld Institute; MA, Courtauld Institute; BA (hons),
Leeds University. 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 to be published by Sotheby’s Institute
in 2012 and based on outstanding dissertations submitted for the
MA in Contemporary Design. She is a Committee member of the
Decorative Arts Society.
“Why is the Wassily still manufactured
today?... And why do some examples sell
for tens of thousands of pounds while
others can be bought off the internet for
only a few hundred pounds?”
—Lis Darby, author of Marcel Breuer’s
Wassily Chair: A Design Icon of the 1920’s
25

East Asian Art
London
Master’s Degree
PostGraduate Diploma
The art history of China, Japan and Korea from the
Neolithic to the present day is the focus of the
East Asian Art programme, 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 crosscultural
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 Asian art
field. Graduates go on to pursue a variety of careers
within the academic, museum and auction house
world as well as opening their own specialist galleries.
Handling sessions and study visits include visits to
major collections in London and Germany as well as
a longer study trip to East Asia.

Sample Courses Semester 1
Ritual and
Religious Art*
Decorative Art
Pictorial Art (paintings
and prints)
Study Visit in
Europe
Semester 2
Decorative Art of
East Asia*
Pictorial Art
(Paintings and
Prints)
Study Trip to
East Asia
Semester 3
Dissertation (MA
only)
*Ritual and Religious Art
This unit examines the material culture associated with the early
beliefs and religious institutions of China, Korea and Japan.
The unit begins with teaching related to ritual artifacts from an
archaeological context in which the meaning and symbolism of
early objects is explored, through their form, decoration and manner
of burial. From the early first millennium of the CE, lectures
examine religious objects associated primarily with Buddhism,
but also with Daoism, shamanism and Shintoism. The transmission
and adoption of Buddhism in East Asia, from Chinese Central
Asia to China, Korea and Japan, and its material culture during its
most formative periods from the fifth to the twelfth centuries, forms
the basis of this unit. While the key concepts, terminology and
iconography of Buddhist art are introduced, it is studied through
sculpture, paintings and prints. The fundamental concepts of this
unit are introduced through illustrated lectures and supported by
visits to museum collections.
*Decorative Art of East Asia
This unit explores the decorative arts of China, Korea and Japan
from the Neolithic and the beginnings of the imperial era until the
19th century. Students are provided with an understanding of the
cultural and political context of historical reign periods, as well as
the interchange between the cultures of East Asia brought about
through trade, intellectual and other cultural contact. Through
a detailed analysis of the ceramic output of certain periods,
examining material, technique, style and function, students learn
to distinguish between the domestic, imperial and export status of
East Asian ceramics and their relationship to other media.
Anne Farrer,
Programme Director, MA in East Asian Art, London
PhD, 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, A Garden
Bequest-Plants from Japan, as well as Chinese Printmaking
Today: Woodblock Printing in China 1980–2000.
“Aesthetically, the decorative arts of China appeal to
a wider (western) audience than do the fine arts.
The genteel renditions of birds, flowers, idyllic landscapes,
mythology and domestic scenes are very
similar in spirit to those found on contemporaneous
Old Master oil paintings.”
—Audrey Wang, author of Chinese Antiquities, published by
Lund Humphries in association with Sotheby’s Institute of Art
27

Photography
London
Master’s Degree
PostGraduate Diploma
The photography programme offers an indepth
study of the history of photography, its place
in cultural, critical theory, and its significance for
modern visual culture. Students are introduced to
the critical analysis of the history of photography
from the earliest experiments to the most recent
developments. The focus is upon photography
as an aesthetic practice, with additional study of
applied photography such as police records and
advertising images.
The increased presence of photography in public and
private collections and the art market is one strand of
investigation; photography’s role within the politics
of representation is another. The core timetable is
supplemented by lectures by distinguished guest
scholars and experts as well as study visits to museums
and galleries, art fairs and private collections.
Graduates go on to pursue a variety of careers, often
within the photographic gallery and auction network
or the contemporary art world.

Sample Courses Semester 1
19th Century
Photography*
20th Century
Photography
Academic and
Professional
Practice
Photography and
Difference
Semester 2
Contemporary
Photography*
Critical Approaches
Academic and
Professional
Practice
The Photographic
Network
Semester 3
Dissertation
(MA only)
*19th Century Photography
The course begins with the study of the early photochemical
experiments that contributed significantly to the invention in 1839
of two viable photographic processes and examines not only the
significant ‘art’ photographic practices of the 19th century, but
also those deemed instrumental such as police records, ethnographic
documentation and the illustrated press.
*Contemporary Photography
Contemporary Photography begins with the widespread use of the
camera in conceptual art practices of the 1960s and 70s and the
significant role that photography plays in postmodernist theory
and practice. The course moves on to examine the recent and
emergent trends in contemporary photography and contemporary
issues facing photographic production.
Juliet Hacking,
Programme Director, MA in Photography, London
PhD, MA, BA (Hons), Courtauld Institute of Art. Juliet Hacking
joined Sotheby’s Institute of Art in 2006. She was previously
the Head of Photographs at Sotheby’s Auction House and a
Visiting Lecturer at the Universities of Reading and Derby and
at the Courtauld Institute of Art. Curator of the National Portrait
Gallery exhibition of D.W. Wynfield’s photographs, she also wrote
the accompanying book (2000). Dr Hacking is the editor of
Photography: The Whole Story, to be published in autumn 2012.
“For me, making a photograph is mostly
an intellectual process of understanding
people or cities and their historical and
phenomenological connection.”
—Thomas Struth, photographer
29

Interior Design
New York
Study Option for
Master’s Degree Students
NYSID’s Graduate Center; photo by Chris Leonard, 2011
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
US-accredited degree.

Tobias Meyer, Sotheby’s Worldwide Head of Contemporary Art
31
Distinguished
Guests
Dr. Clare McAndrew, Managing
Director at Arts Economics
Roger Keverne, The Roger
Keverne Gallery
Alistair Hicks, curator at
Deutsche Bank
Edward Gibbs, Sotheby's
London, Middle East and
India Department
Laura Sears, Victoria & Albert
Museum
Melanie Gerlis, The Art
Newspaper
Adrian Parkhouse, Farrer &
Co, UK
Tom Christopherson, Solicitor &
In-house Counsel, Sotheby’s
London
Lou Proud, Phillips de Pury
Jocelyn Phillips, Bonhams
Lucy Soutter, Royal College
of Art
Andrew Fisher, Goldsmiths
College
Stefanie Braun, Photographers’
Gallery
Nick Knight, Photographer
Michael McCaulay, Sotheby’s
London, Contemporary Art
Kiyoko Mitsuyama-Wdowiak,
Contemporary Japanese Art
Specialist
Professor Youngsook Pak,
School of Oriental and African
Studies, University of London
Hamish Todd, The British
Library
Dan Graham, Artist
Arthur Danto, Artist
Rashaad Newsome, Artist
Tracey Emin, Artist

Doctor of Philosophy
Sotheby’s Institute of Art—London is able to offer the
option of pursuing a doctorate through a splitsite
arrangement with the University of Manchester.
Supervision is shared between faculty at both institutions.
The programme involves substantial independent
research and writing and encourages students to
explore in-depth areas of art history and art business
represented in the Institute’s curriculum, including
aspects of Asian art, decorative art and design,
contemporary art, the art market, or interdisciplinary
subjects. It can be completed in three years of
full-time study and requires a dissertation based on
original research. Prospective PhD candidates are
requested to discuss their proposed area of interest
with the Academic Director at the London Institute
prior to applying.
Liam Gillick, Artist
Sam Taylor-Wood, Artist
Anthony Gormley, Artist
Roni Horn, Artist
Christiane Fischer, AXA
Art Insurance
Kim Kanatani, Guggenheim
Museum
Stephen Clark, MoMA
Amy Adler, New York Law
Naomi Baigell, Sotheby’s,
Corporate Collections
Department
Bob Forbes, Forbes Collection
Nicholas Bagshawe,
Independent Art Dealer
Severine Nackers, Sotheby’s,
Old Master Prints Specialist
David MacDonald, Sotheby’s,
Furniture Specialist
Charles Hope, Former Director,
Warburg Institute
Sebastian Kuhn, European
Ceramics Expert, Bonhams
Fausto Calderai, Italian
Furniture Expert
Lina Dzuverovic, Curator,
Calvert 22
Chris Adams, Curator, Estorick
Collection of Modern Italian
Art
Julia Nagle, Conservator, Tate
Modern
Julien Stock, Independent Art
Dealer
Harry Dalmeny, Deputy
Chairman, Sotheby's UK
Bendor Grosvenor, Director,
Philip Mould Gallery
Tom Christopherson, European
General Council, Sotheby's
Jake & Dinos Chapman, Artist
Michael Craig-Martin, Artist
Gregory Crewdson, Artist
Tacita Dean, Artist
Peter Doig, Artist
Anya Gallaccio, Artist
Isaac Julian, Artist
Cornelia Parker, Artist
Katie Patterson, Artist
Yinka Shonibare, MBE, Artist
Mark Wallinger, Artist
Richard Wilson, Artist
Jane and Louise Wilson, Artists
Geoff Dyer, Author and Novelist
Camilla Brown, Curator, Writer,
Lecturer
Dr. Maria Walsh, Camberwell
College of Art
Michael Mccaulay,
Contemporary Art Expert,
Sotheby's
Jo Stella Sawicka, Director,
Stephen Friedman Gallery
JJ Charlesworth, Associate
Editor, Art Review Magazine
Iwona Blazwick, Director,

Library Resources
The Libraries
New York
Dr. Alex Seago, Richmond
The American International
University
Victoria Miro, Owner, Victoria
Miro Gallery
Glenn Adamson, Head of
Graduate Studies, Research
Department, V&A
Daniela Mascetti, Senior
Specialist, Jewellery
Department, Sotheby’s,
London
Jeremy Morrison, 20th Century
Decorative Art & Design,
Sotheby’s, London
Dr. Catharine Rossi, Edinburgh
College of Art
Mary Schoeser, freelance
curator, lecturer and writer on
textiles
Ellen Stelter, Specialist,
20th Century Design,
Phillips de Pury
The Institute’s libraries in London and New York
provide key resources for students including books,
periodicals, online research databases, workstations,
wireless internet and other essentials. Librarians
on both campuses are an invaluable resource and
offer art-related expertise to students in a variety of
subject areas.
London
The Institute’s library in London has a collection of
around 15,000 volumes covering all subject areas
from art business to Asian art and design, photography,
museum collections, patronage and connoisseurship,
exhibition catalogues, and more. The library
takes 50 current journal titles in hardcopy format
including Art in America, Art Newspaper, Apollo and
The Burlington Magazine. It holds the last 10 years of
Sotheby’s and Christie’s sales catalogues, as well as
copies of Sotheby’s Institute MA dissertations dating
back to 1992.
The Institute’s library provides a useful starting point
for dissertation research and is supported by a number
of renowned London-based libraries including
the British Library and the National Art Library, both of
which are available to Institute students.
The New York campus library has a collection of
nearly 8,000 volumes and other publications covering
the fine and decorative arts including painting,
drawing, ceramics, furniture, interiors and design.
Coverage of specific subject areas includes art business,
art law, contemporary art, museum collections,
exhibition catalogues, patronage and connoisseurship.
The library subscribes to more than 50 journals
such as Artforum, Art Newspaper and Frieze. There
are a number of online bibliographic and art market
research databases available including ProQuest
Research Library and JSTOR. The library also subscribes
to LexisNexis for U.S. case law information.
The last five years of Sotheby’s Auction House New
York sales catalogues are also available.
By special arrangement, Sotheby’s Institute of Art
students have access to a number of local libraries
including the New York Public Library, the
Museum of Modern Art Library, the Watson Library
at the Metropolitan Museum of Art, and New York
University’s Bobst Library. Asa Bruno, Director, Ron Arad
Architecture Ltd, London
Danny Lane, glass artist
Mary Latrobe-Bateman,
OBE, Applied Arts Curator/
Consultant
Dr. Chris Pierce, Director,
Visiting School, Architectural
Association School of
Architecture, London
Dr. Timo De Rijk Associate
professor Design History, Delft
University of Technology
Carrie Rebora Barrat,
33
Metropolitan Museum of Art
Elle Shushan, Elle Shushan

Amsterdam
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
other related art world careers.
Students at both 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.
Liverpool
Paris
Atelier Van Lieshout
TENT 10
Witte De With
Museum Boijmans Van
Beuningen
Van AbbeMuseum,
Eindhoven
De Pont 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
While New York and London offer Institute students
ample hands-on 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, to
discuss ideas, theories and texts related to the work.
London
Travel
Sites
Schirn Kunsthalle
Venice Biennale
The Arsenale
The Giardini
Documenta 13
Tate Liverpool
Bluecoat, 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
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
Marfa
New York
Boston
Dubai
35
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
Pulse Art Fair
Miami Art Museum
Barnes Foundation
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
Palacio Nacional
El Eco Museo Centro
Escultorico
Casa Azul: Frida
Kahlo House and
Museum
Museum of Islamic
Art
Sharjah Biennial
Maqamat Dance
Theater
Peggy Guggenheim
Collection

Careers
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 artsrelated
careers, distinguishing our graduates as the
most capable of arts professionals.
Career Statistics
Based on the most recent survey of selected classes
in London and New York:
87% of our students are employed within
one year of graduation
40% of these students gain employment during
their thesis semester
25% of graduates find jobs through internships
40% of alumni gain jobs through networking and
Institute contacts
world employers that regularly recruit from Sotheby’s
Institute of Art. The job board also provides access to
job listings, employer directories, recruitment events,
application templates, networking advice, and more.
Regularly hosted Career Conversations give students
an opportunity to hear from alumni and senior
art world professionals from companies such as
Sotheby’s Auction House, Phillips Oppenheim, The
Guggenheim, Citibank Art Advisory and Finance,
The Art Newspaper, National Portrait Gallery, The
Royal Collection, and many more.
Finally, our graduates find that perhaps the greatest
asset in their job search is the Institute’s vast network
of alumni. We have 6,000 alumni worldwide many of
whom work in top positions in all facets of the international
art world and are eager to mentor students
and graduates in their search for rewarding positions.
Resources
Our dedicated Career Services specialists provide a
full-range of services to help students and alumni
explore career options, find internships and land jobs
at some of the most prestigious art-related institutions
and businesses in the world.
Students and graduates of the PhD, Master’s Degree,
Graduate Certificate, Postgraduate Diploma and
Semester Study programmes have access to an
exclusive job board with over 1,000 registered art

Historic Preservation
and Conservation
Web Development
Publishing
Insurance or Banking
Luxury Goods
Arts Education
Collections
Management
Museum
Administration
Design
Arts Development
Graduate Careers
INDUSTRY CHART AND CURRENT/
PREVIOUSLY HELD JOBS
Non Profit
Management
Other
Gallery Director or
Owner
Sotheby’s Institute of Art has an impressive network of
alumni employed at some of the most well-respected
arts and cultural institutions and businesses across
the globe. The Institute also fosters entrepreneurship,
with 17% of graduates starting their own businesses as
art consultants, art dealers, gallery owners, freelance
curators, market analysts and more.
Arts Marketing/PR/
Communications
Gallery, Administrative
or Sales
Arts Events
Writing or Research
Based on the most recent survey of selected classes
in London and New York:
31% of alumni work in galleries
20% work at an auction house
16% work in museums and non-profit organisations
13% work in marketing and communications
11% work as art consultants or private dealers
37
Auction House
Specialist or
Administration
Curator/Exhibitions
Art Consultant/
Dealer/
Appraiser
Alumni
Careers
a/k/art consulting &
curating
Allianz AG
American Museum of
Natural History,
New York
Andrea Rosen Gallery
Apexart
Apple Inc.
Art Forum
ART HK—Hong Kong
International Art Fair
Art in America
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

Alumni
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
professionals at some of the world’s leading art and
cultural institutions and businesses around the globe.
Alumni Association
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
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. Lifetime access to the Alumni Portal
includes a directory of all graduates; job listings
powered by the Institute’s exclusive job board with
over 1,000 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,
including networking events, career programming,
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.

Michelle Schultz, Jaime Davis and Audrey Yeo, Directors,
GALERIE8, London MA Contemporary Art, London, 2011
39
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,

Alumni Profiles
Anne Field
MA Art Business, London 2009
BA, Kenyon College
Creative Project Manager and Writer
I’d studied art history and had some internships
in the arts, but after graduating I decided to try a
different field. I worked for four years in marketing
but realized that I wanted to re-connect with
the art world and apply the skills I’d learnt from
business and marketing to the arts. I didn’t feel
that other programmes matched my interests or
skills, so the Sotheby’s Art Business programme
was the only graduate degree I applied to! We
learnt a lot of skills that are critical to run a business
in the arts (art law, management, ethics).
Bess Halstead
MA Fine and Decorative Art, London 2011
BA, University of North Carolina at Chapel Hill
Vetting Coordinator, Masterpiece London
The MA in Fine and Decorative Art gives students
such a unique and important hands-on learning
experience. The process of handling objects, learning
about condition, restoration, colour, material, design
and authenticity of an item is so important. It was this
approach which gives me the confidence in my work
today—allowing me to relate to experts in various fields
and to speak knowledgeably about what we do.
Audrey Yeo
MA Contemporary Art, London 2011
BS, University of Southern California
Director, GALERIE8
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 and have helped me to get
all the skills I needed to start up my own gallery.
Stephen Smith
MA East Asian Art, London 2011
BA, The George Washington
University
MBA, Golden Gate University
Founder and Director, Rough Canvas
The MA in East Asian art helped me to
understand the historical, cultural, and philosophical
context that influences Chinese
contemporary artists. There are many continuities
of older art forms in art produced
today. For example, calligraphy is still being
explored after 1000 years and reinterpreted
by living artists in new and exciting ways.

Allison Kang
MA Art Business, New York 2011
BS, California State University-Long Beach
Contemporary Art Administrator, Sotheby’s
I first learned about Sotheby’s Institute of Art when
I was thinking about pursuing an MBA. Knowing
that I wanted to stay in the creative field, 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.
Julian A. Jimarez Howard
MA Art Business, New York 2012
BA, Brown University
Owner/Manager, Sunset Surf Club
I turned to Sotheby’s Institute of Art after a realization
that, for me, finding a place in the art world
seemed like the best way of living a happy life.
That said, I didn’t want a half-cooked approach
and found that, of the other programmes 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.
Suzanne Carte
MA Contemporary Art, New York 2012
BFA, University of Windsor (Canada)
Assistant Curator, Art Gallery of York
University (on leave)
I came to Sotheby’s Institute of Art looking for
a challenge and to revitalize my excitement for
and commitment to contemporary art practices. I
found guidance from all of the amazing professors
at the Institute. Their enthusiasm, knowledge, and
astute insights were an amazing resource. Having
access to the many institutions, service organizations,
and artist-led programmes in New York was
an invaluable source of inspiration as part of the
educational experience.
William Haydock
MA Art Business, New York 2010
BA, Boston College
Junior Specialist, American Art, Sotheby’s
After working in finance for three and a half years,
I made the decision to attend Sotheby’s Institute
at the encouragement of a friend. I was looking for
a programme that would adequately prepare me
for a job at either an auction house or a gallery. My
time at the Institute exceeded expectations and
allowed for a seamless transition into my new profession
as a Sotheby’s specialist. Most importantly,
the people I met, both professors and students,
continue to serve as resources and friends.
41
Munich
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

Master’s Programme
Admissions
Open Days and Recruitment Visits
Interested in learning more about Sotheby’s Institute
of Art’s many paths of study? We invite you to attend
an Open Day in London or New York to meet faculty
members and learn about the Institute’s range of
programmes. In addition, a representative from the
Institute makes regular recruitment visits during the
year to campuses and other institutions throughout
North America, Europe and Asia. For a complete list
of dates and locations of Open Days and Recruitment
Visits, please visit sothebysinstitute.com.
Applying to Master’s Programmes
Admission to Master’s, Postgraduate Diploma, and
Graduate Certificate programmes requires the completion
of a BA degree 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 over the phone or by
emailing admissions@sothebysinstitute.com.
Applicants must submit
the following materials:
1. Online Application via sothebysinstitute.com
2. Official Transcript sent from undergraduate
college or university
3. Writing Sample (art history paper or 1,000 word
essay on any art exhibition of choice)
4. Resume or C.V.
5. Two Letters of Recommendation (Academic
preferred)
6. Personal Statement (1,500 words or less addressing
your interest in studying at Sotheby’s Institute
of Art and your career goals)
7. English Language Proficiency Test (required for
all non-Native English speaking students)
All Applicants must apply online at sothebysinstitute.
com. A fee of £50 for application to the London campus
or $100 for application to the New York campus
is required. Applications are accepted throughout the
year for entrance in September.

Interviews
Eligible applicants will be invited to schedule an interview
with a member of the Institute’s staff and/or an
alumni representative during the admissions process.
The interviewer will assess the candidate’s aptitude for
the programme, level of English proficiency (if appropriate)
and commitment to study.
Further Questions
For more information about applying to
Master’s programmes at Sotheby’s Institute
of Art, please visit sothebysinstitute.com or
email admissions@sothebysinstitute.com.
43

Scholarships and
Financial Assistance
The Institute offers needs-based financial assistance
to Master’s Degree, Graduate Certificate and
Postgraduate Diploma students and scholarships are
granted on academic merit. Applications for
financial assistance are reviewed on a rolling basis.
For applications and more information, please visit
sothebysinstitute.com.
US students may also apply for a Sallie Mae loan for
study in the US or the UK. Further details of scholarships
and loan programmes are provided on our
website, sothebysinstitute.com.
UK students may apply for the Arts and Humanities
Research Council (AHRC) award. To apply candidates
must have previously received acceptance into
one of the Institute’s MA degree programmes and
complete an essay. Enquiries should be directed
to admissions@sothebysinstitute.com.
UK students may also apply for Professional and
Career Development Loans. The Young People’s
Learning Agency will pay the interest on the loan during
your term of study and for one month afterward.
This loan can be used to pay course fees or other
costs such as travel and living expenses. You can also
use the loan to supplement other forms of support
such as grants or bursaries. For further information
on financial assistance to support your studies, please
contact admissions@sothebysinstitute.com.
Gordon Lang Scholarship
Gordon Lang (1943–2010)
was an inspirational teacher
at Sotheby’s Institute of Art
and an internationally recognised
expert in ceramics. His
areas of expertise included
Meissen porcelain, Italian
maiolica pottery and, especially,
Chinese ceramics. He
was also immensely knowledgeable
about the impact
of trade between Europe and Asia, with special reference
to Restoration London. By founding the Gordon
Lang Scholarship, the Institute hopes to encourage
future scholarship and expertise in these and similar
areas. The Gordan Lang Scholarship is available to
London applicants.
Arts and Humanities Research Council
(AHRC) STUDENTSHIPS
The Arts and Humanities Research Council is a
prestigious public body which, through Government
funding, supports research and postgraduate study in
the arts and humanities within UK Higher Education
institutions. Sotheby’s Institute of Art—London has
been awarded a number of studentships to cover
student fees from 2011–13.
45

Semester Study
Semester Study in London
Semester Study is designed for individuals with a keen
interest in art and its markets and those considering
a career in the art world. It is particularly well-suited
for undergraduates seeking a “semester abroad”
programme; graduate students diversifying their
art-historical preparation; professionals who wish to
broaden their knowledge and connoisseurship; and
adult learners with diverse educational interests and
professional experience. Semester courses often
serve as a gateway for students with an undergraduate
degree in a subject other than art history who
may be considering applying for a postgraduate
programme at Sotheby’s Institute of Art.
Semester courses offer students both from traditional
university and professional backgrounds the experience
and opportunity to gain comprehensive and
integrated knowledge in a number of different areas
including Foundations of Western Art, Decorative Art
and Design, Arts of Asia, and Art Business.
Courses feature illustrated lectures by Sotheby’s
Institute faculty, as well as art world specialists including
museum curators, auction house staff, collectors,
critics, dealers, and art business professionals. Study
visits form an integral part of each course, complementing
both art historical and art business components
and emphasizing the object-based nature of
learning at Sotheby’s Institute of Art. Regular visits are
made to museums, galleries, architectural structures,
studios, auction houses, dealers and temporary exhibitions
around London.

“The unique opportunity to learn about
objects close-up enhances students’
critical and visual skills, while immersion
in the art world offers them an insight
into a booming 21st century industry.”
—Jonathan Woolfson
Admissions to Semester Study
Semester Study programmes admit students in both
the September and January terms. Semester Study
does not require previous university qualifications and
is designed for students with a wide range of educational
and professional backgrounds. All Applicants
must apply online at sothebysinstitute.com. Suitability
for admission is then assessed through an interview,
which is conducted either in person, by telephone,
or Skype. Fees for semester courses include tuition,
seminars, one-to-one tutorials, as well as travel and
lodging for study visits.
Semester courses at the London campus are validated
as Continuing Professional Development by
the University of Manchester. Part-time options for
studying are available.
Sample courseS
Art and Business
Through lectures and visits to specialist museums and
collections, students are introduced to the history of
art and design and the ways in which art is made, sold
and collected. Students learn how the international
art market operates and examine the history, management
and legal ramifications of both public and
private art organizations. Other areas of exploration
include established and emerging markets and the
analysis of art market data.
Arts of Asia and their Markets
This course explores artistic products of the leading
religions and philosophies of Asia, with a focus
on sculptural and architectural work. It also provides
associated contextual learning, investigating themes
such as court life of the Indian and Persian sultanates
and the Mughals; civil and military East Asian court
life; and the European opening-up of trade with
China and Japan from the sixteenth to the nineteenth
centuries. The course concludes with a review of contemporary
art and its markets in India, Iran, Southeast
Asia, China and Japan.
Foundations of Western Art
In this course students explore the history and development
of art in the western world from ancient
Greek beginnings to the present day, giving considerable
attention to the broader social, political and
cultural contexts of artistic achievement. Students
acquire a sound understanding of key stylistic developments,
methods, materials and techniques, and
investigate the worlds of artistic production, patronage
and consumption in successive centuries.
Decorative Art and Design
This course is an examination of the historical and
stylistic development of Western European decorative
arts, design and interiors from the early seventeenth
century to the end of the twentieth. It is suited for

those who wish to gain a working knowledge of the
decorative arts and twentieth century design, and for
students interested in interior design. The subjects are
studied in relation to architecture and interiors as well
as in their wider social and historical contexts. Object
handling and visits to auction previews, workshops
and studios are important aspects of the teaching curriculum.
A study trip to Paris typically complements
the course’s regular museum and gallery excursions..
Jonathan Woolfson, Director,
Semester and Summer Programmes, London
49

Summer Study
Summer Study in London and 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. Encompassing the fields
of contemporary art, art business, fine and decorative
art, and Asian art, Summer courses in London
and New York are designed for university students,
professionals in the field, career changers, and art
enthusiasts of all types. Courses include lectures
and seminars led by Sotheby’s Institute of Art faculty,
international experts, and leading practitioners in the
field. Visits to major collections, museums, galleries,
auction houses and artists’ studios around London
and New York allow participants to engage directly
with art objects and develop an understanding of art
in its historical, contemporary and market contexts.
Summer courses in London and New York range
in length from one day to four weeks and are open
to all, with the exception of the four-week summer
study course in London which requires an
application.
To apply, visit sothebysinstitute.com. The four-week
course in London is validated by the University of
Manchester, offering undergraduate students 20
academic credits.
Sample course offerings are listed below.
Please note that courses regularly change.
Interested participants should refer to our website
at sothebysinstitute.com for more details.
Art and Its Markets
This course provides an introduction to the international
art market. While focusing on several art
market sectors, the course offers an understanding
of how these perform under differing market
conditions. Students gain insight into the mechanics
of auction houses and the roles they play in the art
market in general
Contemporary Art
Discover what’s happening now in the art
world through this inside look at today’s vibrant
Contemporary Art scene. Students are introduced to
the world of contemporary art through special talks
given by artists, curators, academics and art critics.
The market for contemporary art and the role of the
contemporary art curator and the collector are also
addressed, and visits are made to a wide range of
commercial, public and studio spaces.
51

“Art is a global business.Whether you
want to be a curator, a gallery owner or an
auctioneer, it is necessary to develop an
understanding of different art world cultures,
to engage with other nationalities, to
see how the market operates throughout
the world, and that is what the summer
programme at Sotheby’s Institute offers
our students.”
—Joanna Berritt, Director, Online Education and
Public Programmes, New York
Decorative Art and Design
Beginning in the late seventeenth century, with the
rise of Baroque, and culminating in the Post-War
Modernist movement, this comprehensive and
engaging course provides a strong understanding of
key stylistic trends in design and the decorative arts.
How to Run a Gallery
Students gain an overview of the gallery business,
from initial funding and forming an artist roster, to
exhibition planning and marketing and communication
strategies. Site visits include artists’ studios in
order to understand how galleries procure artwork
and negotiate pricing.
Arts of Asia
This course explores the diverse arts of Asia from their
origins until the present day. The final week focuses
on the turbulent but exciting period after 1900 and
culminates with contemporary art, enabling students
to develop a better understanding of the regions’ key
contemporary artists.
Emerging Markets in the Global Art World
This course offers an overview of contemporary art
from emerging markets such as China, Korea, India,
the Middle East and elsewhere. By examining the
work of relevant artists, visiting galleries that specialize
in emerging markets, and speaking with specialists at
auction houses and museums, this courses examines
the dynamic developments in regions that lie beyond
what was once neatly defined as “the West”.
Michelangelo to Matisse: European Art,
1500–1900
In this intensive course students explore four extraordinary
centuries in the history of European art, from
the High Renaissance of the early sixteenth century to
the Avant-Garde movements of the early twentieth.

Short Courses and
Public Programmes
Short Courses and Public Programmes
Short Courses and Public Programmes take place
throughout the year in London and New York and
are taught by Sotheby’s Institute faculty, international
experts and leading practitioners in the field. These
programmes are designed to help participants gain
professional skills, knowledge and insight into the
international art world.
A broad range of day and evening courses are offered
in contemporary art, art business and jewelry. These
courses are open to everyone and are ideal for those
interested in strengthening their professional experience
or considering an arts-related career.
Sample course offerings are listed below. Please note
that courses regularly change. Interested participants
should refer to our website at sothebysinstitute.com
for more information and to enroll.
Contemporary Art at Auction:
An Insider’s View
This course offers behind-the-scenes access to
contemporary art auction sales, the specialists, and
previews of artwork. Recent trends in the art world,
in both the primary and secondary markets, locally
and globally, are discussed. This is a special opportunity
for participants to develop a more educated eye
and deepen their understanding of the contemporary
art market.
Introduction to Art as a Global Business
This course offers an introduction to the fundamental
structures of the business, the people, institutions and
organizations through which art flows, and how the
markets grow and contract. It puts emphasis on the
historical perspective, which holds that the contemporary
shape of “the global art business” is not too
different from the historical forms that gave rise to it.
Art Law
This course provides an understanding of the key
legal and practical issues to consider when buying,
selling and owning art. The areas where disputes
most often occur are identified alongside the way
in which risks can be minimised or eliminated. The
course addresses important issues such as pre-acquisition
due diligence, provenance and title in works of
art, as well as the legal challenges in trade and ownership,
such as contractual disputes, cross border trade
issues and intellectual property rights.
History of Art, Part I:
Renaissance to Rococo
Beginning with Jan van Eyck and concluding with
Jean-Antoine Watteau, this course provides an introduction
to the history of European art. Designed for
those who would like to refresh their knowledge or
to develop a background in the history of art, these
lectures focus on key styles and figures between the
15th and 18th centuries. The course provides both
a contextual understanding of artworks alongside
formal appreciation skills.

Morgan Falconer, lecturer, Contemporary Art
“I can recommend nothing better... than
that you endeavor to infuse into your works
what you learn from the contemplation of
the works of others.”
—Sir Joshua Reynolds, artist
55

Online Courses
Canada
United States
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.
Mexico
Guatemala
Ecuador
Colombia
Brazil
The interactive courses at Sotheby’s Institute of Art—
Online provide a learning experience that emerges
from written responses to course materials provided
by the instructor. Organized into a logical sequence,
these materials 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 even
though one does not have to be online at the same
time as peers or instructors. Everyone has an opportunity
to share perspectives and insights, and course
materials and discussions can be accessed 24 hours a
day, 7 days a week.
Sample course offerings are listed below. Please note
that courses regularly change. Interested participants
should refer to our website at sothebysinstitute.com
for more details.
Introduction to Contemporary Art
In the past fifty years contemporary art has grown to
be one of the most exciting and crowded fields in the
international art world. This course offers an introductory
guide to contemporary art, surveying all the
Argentina
trends and movements that have shaped the period,
and tracing how the market for art has kept pace.
Students review the emergence in the galleries of film
and video, and assess the health of venerable practices
like painting and drawing. The course looks both
at the work of contemporary art's leading lights—Andy
Warhol, Jeff Koons, Elizabeth Peyton—and those just
emerging onto the scene.
Art as an Alternative Investment
Among seasoned investors, fine art is generally
acknowledged to possess features that make it a particularly
attractive alternative asset class. This course

Sweden
United Kingdom
Norway
Finland
Russia
Denmark
Latvia
Lithuania
Netherlands
Ireland
Germany
Luxembourg
Belgium
Czech Rep.
Ukraine
Slovakia
Austria
Switzerland Hungary
France
Portugal
Spain
Italy
Greece
Turkey
Cyprus
Lebanon
China
S. Korea Japan
Egypt
Qatar
Bahrain
Hong Kong
Taiwan
U.A.E.
India
Vietnam
Philippines
Malaysia
Singapore
Australia
Circle size represents number
of students by country who
have taken online courses at
Sotheby’s Institute of Art.
New Zealand
examines the characteristics of fine art that allow
it to be treated in this manner. Looking at performance
statistics and reviewing a range of academic
and empirical research on the subject, students
develop appropriate investment strategies involving
fine art. Discussions center around the analytic
tools that enable measurement of performance of
art investment portfolios compared to conventional
investments. In addition, the course explores the
emergence and experience of institutional and other
art investment funds in recent years, including a case
study based on the first institutional investor in fine
art—the British Rail Pension Fund. A background in
finance is not required.
Understanding Trends in the Art Market
It is a common misconception that the art market is
a lottery in which prices behave in an arbitrary and
unpredictable manner. This course examines 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. The
economic principles introduced are applied to the art
market in order to get to the heart of the problem of
valuing an artwork. A background in economics or
statistics is not required.
57

Introduction to Art History:
The Movements That Mattered
Instead of approaching art history as a flurry of dates
and names to remember, this course dives deeply
into single moments—and uses key objects as a
means to understanding the progression of styles
in Western art. Beginning with the cave paintings at
Lascaux in 15,000 BCE and ending with Picasso's Les
Desmoiselles d'Avignon from 1907, this course traces
the evolution of art's major periods and styles by a
close consideration of treasured objects and monuments.
Students emerge with a greater understanding
of the arc of Western art, as well as an in-depth
understanding of some of humanity's greatest works.
Understanding International Law
in Art Business
Art business operates in a global environment and
the law is an essential tool for the successful conduct
of the market. This course examines ways in which
art businesses are legally constituted worldwide by
looking at 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, artists, art business
and management. The course also addresses
issues related to art as a creative endeavour, art as an
article of commerce, and art as a significant cultural
artifact. The course aims to provide students with a
sound understanding and good working knowledge
of the legal and business frameworks within which
art business operates worldwide. A legal background
is not required.

“All of the arts, poetry, music, ritual, the
visible arts, the theater, must singly and
together create the most comprehensive
art of all, a humanized society, and its
masterpiece, free man.”
—Bernard Berenson, art historian
The British Museum’s south entrance
59

Executive Education
Executive Education
The Institute’s Executive Education programmes
offer art professionals an exclusive opportunity to
reach new levels of business management within
the art world. Aligned with the Institute’s hands-on,
object-based approach to learning, participants
gain exposure to the latest thinking in business
management in the art world through lectures,
case studies and visits to leading museums and
galleries. Invited speakers include both academic
and business school faculty and renowned business
leaders in the field.
These unique courses attract participants from
around the world who are committed to strengthening
their business skills and embracing the
constant changes to the landscape. Participants
develop a valuable international network which
often translates into shared artists and exhibitions
and other business initiatives. Our one-week
courses usually take place twice a year in different
cities around the globe.
Sample course offerings are listed below. Courses
vary by topic and location. Interested participants
should refer to our website at sothebysinstitute.
com for more details.
Practical Guide to Starting an Art Gallery
(London)
This course provides practical training in starting an
art gallery today. The intensive course addresses art
market dynamics and the technicalities of establishing
a business, including legal, financial and operational
aspects, as well as key issues in growing a business.
Guided by gallery founders and directors, participants
have the opportunity to build valuable relationships
and networks in the art world.
Business Management in the Art World
(Hong Kong)
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.

Hong Kong
Sotheby’s was the first auction house in Hong Kong,
opening an office there in 1973. Over the course of
a few short years, Hong Kong has established itself
as a global art world hub, with record-breaking sales
and internationally-watched art fairs. Art buyers from
around the globe are flocking to the city-state to
invest in the burgeoning Asian art market.
offered to those interested in delving deep into
the business of art. Courses are taught by experts
and professionals in the field and cover all aspects of
the art market, from auctioneering and art management
techniques to key trends in contemporary East
Asian Art.
In response to the growth and interest in Hong Kong
and East Asia, Sotheby’s Institute of Art continues to
build on its educational programming there. Public
Programmes and Executive Education courses are
61

London and
New York
Two Great Art Cities. United.
Sotheby’s Institute of Art has academic centres in the
cultural capitals of London and New York, reflecting
its commitment to the globalization of art and its markets.
The campuses are in close proximity to major
museums and galleries and provide easy access to art
institutions throughout Europe and the Americas.
63

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. Here, dealers trade in
art and antiquities from Asia alongside British,
American and European painting, sculpture, design
and classical antiquities.
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. The Institute is within walking distance of
Sotheby’s Auction House, the National Gallery, the
Royal Academy, and the University of London. Other
major galleries and museums are within easy reach
such as the Victoria and Albert Museum, the Wallace
Collection, Tate Britain, Tate Modern, Kensington
Palace, and Hampton Court Palace. The capitals
and art centres of Europe are easily accessible from
London, making their vibrant art markets and legendary
cultural resources readily available to the Institute’s
students and faculty.
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 the largest concentration of American art in the
world with a vast network of museums, galleries,
private collections, auction houses and other cultural
resources. The city’s proximity to major centres of
American art such as Philadelphia, Washington and
Boston provides unprecedented opportunities for
field study.
The Institute’s primary teaching facility is located
in midtown Manhattan within walking distance of
the Museum of Modern Art, the Japan Society, the
International Center of Photography, the Museum
of Arts and Design and many other leading galleries
and museums. The campus is adjacent to a main
subway line, providing easy access to all of New York
City’s cultural and artistic assets. The Institute also
maintains classrooms at Sotheby’s Auction House
on Manhattan’s Upper East Side, providing students
with privileged access to pre-sale viewings,
seminars with experts and handling sessions.

(top) Trafalgar Square, London
(bottom) Lower East Side, New York
65

Jos Hackforth-Jones
Director, Sotheby’s Institute of Art—London
PhD , University of Sydney; MA, Courtauld Institute of Art. Prior to her role
at Sotheby's Institute of Art, Professor Hackforth-Jones served as President
and Provost at Richmond The American International University in London. A
distinguished academic administrator, noted art historian, author, curator and
lecturer, she has published widely on art historical subjects, including most
recently Edges of Empire: Orientalism and Visual Culture (co-edited with Mary
Roberts, Blackwell Publishing, 2005). 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 the co-editor, with
Megan Aldrich, of Art and Authenticity (Lund Humphries 2012).
letter FROM LONDON
If you are reading this, you may be exploring the possibility
of study at Sotheby’s Institute of Art. You may
be wondering whether any of the many options we
offer for courses and degree programmes might be
right for you. If you are drawn to art and the art world,
if you love to look and to immerse yourself in art, and
if you are interested in applying your knowledge in a
practical and professional way, we may offer you the
right environment for study.
My own association with Sotheby’s Institute reaches
as far back as the early 1980s when I enrolled in a
semester course in decorative art with what was then
called Sotheby’s Educational Studies in London. I had
recently completed an MA in art history but felt that I
needed more, and I wanted to immerse myself in art
and design at first hand. My three months of intensive
study with Sotheby’s Institute included visits to private
and public collections, viewing auction sales, and
practical sessions where we actually handled objects
and learned to catalogue. The experience was, quite
simply, transformational. I returned to academia to
complete a doctorate with renewed excitement
about the arts and with a strong sense of focus
gained from this intensive immersion. I found I could
speak confidently about art because I had seen so
much of it in such a short time at Sotheby’s Institute.
Today as Academic Director of Sotheby’s Institute
of Art in London, my responsibility is to nurture and
develop this culture of intensive, first-hand study of art
and the art world in order to achieve that transformational
moment for every student. This kind of educational
approach arose originally from auction house
training, but it can be mapped onto an ever widening
range of professional roles in the art world today. If
you have read this far with interest, I would encourage
you to get in touch with us directly and begin to
explore our many options for study and professional
development. —Megan Aldrich
Megan Aldrich
Academic Director,
Sotheby’s Institute of
Art—London
PhD in architectural
history, University of
Toronto; BA in art history
and religious studies,
Brown University. Megan
Aldrich began her career
in the Victoria and Albert
Museum, London. She
curated the exhibition on
the Crace firm of decorators at the Brighton Museum and
Art Gallery in Sussex in 1990 and edited the accompanying
publication. She has contributed to the catalogues of
the Pugin (1995) and Beckford (2001) exhibitions held
at the Bard Center in New York, and her book Gothic
Revival (1994) was awarded the Banister 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. She is currently editing a book of
essays by Institute faculty exploring how we understand
the concept of authenticity when applied to works of art.

“We want to introduce students to our
distinctive pedagogy, our object-based
approach and the culture of the Institute.
We want them to feel warmly welcomed
into our beautiful 18th century building,
just a stone’s throw from major museums
and galleries.”
—Jos Hackforth-Jones
letter FROM NEW YORK
We’re so pleased that you’ve found your way to
Sotheby’s Institute of Art, the graduate school of art
and its markets. Ours is a single-purpose institution,
characterised by a unique blend of academic rigor
and professional experience. At Sotheby’s Institute of
Art—New York our entire focus, and all of our energies
and resources, are dedicated to the study of art and
the international art world—and the kinds of knowledge,
people and opportunities that will prepare our
graduates for significant and varied careers. This is
a programme uniquely placed at the intersection of
art and the marketplace, and one where scholarship,
direct engagement with objects and their value and
access to industry leaders are not seen as separate or
conflicting phenomena.
The effectiveness of this approach is proven by
our graduates. They are experts, entrepreneurs and
thought leaders in the global art community, changing
and challenging the profession in every way.
Some of them are profiled in this book, others on our
website but I encourage you to come here and meet
them in person.
I invite you to meet our extraordinary faculty, visit
our facilities in the heart of New York City, and learn
more about our ground-breaking programmes. Join
us at one of our on-campus events, sit in on a class to
get a first-hand look at the Sotheby’s Institute experience
or meet our staff and alumni at events across
the country.
At Sotheby’s Institute of Art—New York, we are dedicated
to providing the highest quality professional
education to prepare students for challenging and
rewarding careers in the art world—an ever-changing
nexus of multi-cultural influences, intellectual enrichment
and personal discovery. I hope you’ll join us and
explore our singular pathway to success.
—Lesley Cadman
Lesley A. Cadman
Director, Sotheby’s
Institute of Art—
New York
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 continues 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).
67

The General Electric Building at 570 Lexington Avenue

About Our Campuses
About Our Campuses
The Institute’s campuses in London and New York are
located in the city centres, with major art and cultural
destinations and historic landmarks nearby.
Bedford Square, London
Bedford Square, home to Sotheby’s Institute of Art—
London, is an idyllic setting steeped in rich history and
located in the centre of Bloomsbury. The founding site for
Bedford College, Britain’s first university for women, and
once home to notables like novelist Sir Anthony Hope
Hawkins and scientist Henry Cavendish, Bedford Square
is a jewel of London square design and one of the bestpreserved
examples of Georgian architecture. The original
dwellings, erected between 1775–1780, were conceived
as large residential estates surrounding a central, private
garden. Today, the once-private structures house Yale
University Press, the Architectural Association, the British
Museum, the Paul Mellon Centre for British Art, and more.
570 Lexington Avenue, New York
Students outside Sotheby’s Institute of Art—London
The stunning art deco tower on the corner of Lexington
Avenue and 51st Street in midtown Manhattan is the site
of Sotheby’s Institute of Art—New York. Erected in 1931,
the building at 570 Lexington Avenue was originally home
to General Electric, before the company moved across
town to Rockefeller Center and donated the structure
to Columbia University. The building is recognized for its
unique Art Deco-cum-Gothic rooftop design. Neighbored
by the Byzantine-influenced St. Bartholomew’s church—
the two sit in a kind of harmonious tandem, blending
their varied architectural influences with a complementary
color scheme. Located within walking distance to
major museums like the Museum of Modern Art and the
galleries of 57th Street, the General Electric Building is
truly a landmark in its own right.
69

History
Sotheby’s Auction House
Sotheby’s was founded in London on March 11, 1744,
when Samuel Baker auctioned “several Hundred
scarce and valuable books” from the library of the
Rt. Hon. Sir John Stanley for a few hundred pounds.
Since then, Sotheby’s has distinguished itself as one
of the biggest leaders in the auction world, boasting
90 locations in 40 countries and conducting
250 auctions in over 70 categories each year. Today,
Sotheby’s is one of the most storied names on the
global business stage.
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 Yellow-Ground 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, recordbreaking
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 asset-driven 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.
Cambridge Information Group
Since 2003, Sotheby’s Institute has been owned and
operated by the US-based Cambridge Information
Group and continues to maintain a close relationship
with Sotheby’s Auction House. A strong rapport
between the Institute and the auction house provides
students and faculty with unique resources such
as privileged access to on-site auctions or through
closed-circuit broadcast; pre-sale viewings; auction
catalogs; object-handling sessions; opportunities for
relationship-building with specialists and business
directors; and special consideration for internships
and employment.

Frequently
Asked Questions
What are the fees for the Master’s,
Postgraduate Diploma and Graduate
Certificate programmes?
The current fees are available on our
website, sothebysinstitute.com. There are
two components to the fees: tuition (which
includes classes, seminars, and one-toone
tutorials) and travel (which includes
transportation, lodging and admissions
on study trips). On acceptance, a nonrefundable
deposit is required which is
offset against the payment of tuition fees at
the start of the course of study.
Does the Institute offer on-campus
housing?
The Institute offers students several agency
recommendations and tips on securing
housing through the new student welcome
site. 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 more information.
How do I find out when Recruiting Visits
and Open Days are taking place?
The Institute conducts global Recruiting
Visits and hosts Open Day events at the
London and New York campuses throughout
the year. Please visit sothebysinstitute.
com for a complete schedule of dates and
locations.
Should I meet with someone from the
Institute before applying?
Interested students are encouraged to
meet one-on-one with an admissions
staff member to discuss their goals and
interests prior to applying. Please contact
admissions@sothebysinstitute.com to
schedule a meeting.
Are the GRE or GMAT required for
admission?
No, the Institute does not require the GRE
or GMAT for entry.
Is an interview required for admission?
Yes, all applicants are required to complete
either an in-person, phone or Skype interview
as part of the application process.
Can I apply to multiple programmes/campuses
at the same time?
Applicants may only select one campus
when submitting an application. Applicants
who wish to attend an alternate campus or
programme may make that request during
the admissions process.
Can I apply to one of the Institute’s
programmes if my major is/was not
Art History?
Applicants to the Master’s, Postgraduate
Diploma and Graduate Certificate programmes
are required to have a working
knowledge of Art History in order to be
successful. In some cases, the Institute
requires applicants to complete a course
prior to enrolling. Art History knowledge is
assessed based on the applicant’s writing
sample and is evaluated during the interview
process. Applicants are encouraged
to meet with an admissions staff member
or attend an Open Day session on campus
to discuss their qualifications.
Is it possible to divide my Master’s studies
between campuses?
Master’s students may take two semesters
of study at one campus and a third
semester of study at an alternate campus.
This option may not be available for all
programmes. Please contact admissions@
sothebysinstitute.com for more information.
Should I have work experience before
applying to the Institute? Is this preferred?
Work experience is neither a requirement
nor preference for admission. Sotheby’s
Institute has students who are recent
graduates as well as career-changers of
all ages.
Can I work while enrolled in a Master’s
programme?
Because the Master’s programmes are
full-time and consist of intensive courses,
working during the first two semesters of
study is not encouraged. However, many
students pursue internships during the
third semester while they complete a
thesis/dissertation.
What Career Services does the Institute
provide to students?
Career Services are available to students
and graduates of the Institute’s PhD,
Master’s Degree, Graduate Certificate,
Postgraduate Diploma and Semester Study
programmes. Career specialists at both the
London and New York campuses assist
71

students in preparing for the job market
by providing career advice, networking
opportunities, an extensive jobs database
and other employment resources.
Does the Institute 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. These are three month
full-time placements which take place
after the submission of the dissertation.
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.
Can I work while enrolled in the Semester
Study or the four-week Summer Study
programmes in London?
Students in the Semester Study programme
and the four-week Summer Study
course in London may find it difficult to
sustain work commitments while taking
full-time, intensive courses.
Please note all programmes of study,
course offerings, services and
policies described herein are subject
to change without notice. Please
visit sothebysinstitute.com for the
most up-to-date information.
What programmes are available for undergraduates?
Will I be eligible to receive
academic credit?
Semester Study, Summer Study, Online
Study, Short Courses and Public
Programmes are open to all students. In
some cases, undergraduates can earn
academic credit for participating in these
programmes. Students are responsible
for speaking with the academic advisor
from their home institutions to ensure that
this will be the case. To learn more, visit
sothebysinstitute.com.
©2012 Sotheby’s Institute of Art
Printed in Iceland by Oddi

“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.”
—David Levy , President, Sotheby’s Institute of Art
sothebysinstitute.com
Sotheby’s Institute of Art is a division
of Cambridge Information Group
London
admissions@sothebysinstitute.com
Tel: +44 (0)207 462 3232
30 Bedford Square, Bloomsbury
London, WC1B 3EE, UK
New York
admissions@sothebysinstitute.com
Tel: +1 (212) 517 3929
570 Lexington Avenue, 6th Floor
New York, NY 10022, USA