Elena Abbate
Elena Abbate holds a Bachelor's degree in Cultural Heritage (University of Turin) and a Master's degree in Visual Arts (University of Bologna). She is a cultural practitioner with experience in communication and project management. She is currently a member of the independent curatorial collective Exo Art Lab.
Chandrika Acharya
Over the past decade, I have closely worked with the Indian art world. I have organised and designed the expansive artist studio archives housed at Delhi Gallery Modern, New Delhi and assisted in exhibitions of the archival material. I had the opportunity to manage the collection of Kiran Nadar Museum of Art and assist them in documenting it according to ICOM standards. In 2020, I joined Artery India, an art market analytics firm, where I closely studied and researched the markets for Indian Modern and Contemporary Art. Currently, I am a doctoral student at the Heidelberg University and my project looks at the creation of value and the strategic discourse employed by the auction market to build prestige for Indian Modern and Contemporary art practices.
Ginevra Addis
Ginevra Addis is a Postdoctoral Fellow at UNIMIB (Università degli Studi di Milano Bicocca) and an Adjunct Professor of Systems for the Management of Contemporary Art at USCS-Milan, where she has also worked as an Adjunct Professor and Faculty Member in the Master of Arts Management programme since 2017. Additionally, she has collaborated with the Department of History, Archaeology, and Art History - Contemporary Art Unit - at UCSC since 2014. She holds a Ph.D. in Analysis and Management of Cultural Heritage, which she obtained at IMT School for Advanced Studies, Lucca (IT) in December 2019. She was a Visiting Ph.D. candidate at Humboldt Universität zu Berlin, Berlin (G) in 2018. In March 2021 she published her book The Re-identification of Pop Art. Its reception from an Italian Perspective, with European Press Academic Publishing. She has participated in several conferences in Italy and abroad (e.g., NYC, Bruxelles, Lisbon) and published several contributions for journals e.g. Tafter Journal, in books e.g. Edward Elgar, Ledizione Press, and Brill, and conference proceedings e.g. ENCATC 2022, Accademia University Press, 2017, Postmediabooks 2017. She currently works for the European Commission, Bruxelles as an EU Evaluator for the projects in the art field. She has worked for international organisations such as the United Nations (NYC) and UNESCO (Paris), and at non-profit organisations such as More Art, NYC. She has curated several art exhibits in Italy and in Switzerland. She has worked as a Curator and an Art Consultant. Her last publications concerns the South African Art Market System (Brill, 2023) and the entanglement of contemporary art and sustainability (Ledizione Press, 2023; ENCATC, 2022).
Johannes Aengenheyster
Johannes Aengenheyster is a Ph.D student in cultural sociology at the University of Amsterdam, where he researches the development of private contemporary art museums. His other interests include structure and development of concepts and classification systems as well as big data and computational methods.
Paul Albert
Paul Albert is a scholar at George Mason University conducting research into Art History and Computational Social Sciences. Paul seeks to further our understanding of cultural dynamics through computationally gained insights.
Jaynie Anderson
Jaynie Anderson AM OSI FAHA is Professor Emeritus at the University of Melbourne. She was the Foundation Director of the Australian Institute of Art History at the University of Melbourne from 2009-2015 and Herald Chair of Fine Arts from 1997 to 2014. She is a fellow of the Australian Academy of the Humanities (FAHA), and past president of the International Committee of Art History (2008-2012), the Comité Internationale de l’Histoire de l’Art (CIHA). In 2015 she received from the President of the Republic of Italy, the knighthood of Ufficiale dell'Ordine della Stella d'Italia and in 2021 was appointed a member of the Order of Australia for distinguished service to art history. Her most recent book is Edgar Wind. Art and Embodiment, 2024.
Federica Aramu
Federica Aramu holds a Master’s degree in ‘Arts and Heritage: Policy, Management and Education’ (Maastricht University, 2021) and one in ‘Contemporary Arts’ (Ca’ Foscari University of Venice, 2019). Previously, she earned a Bachelor’s degree in ‘Art History and Cultural Heritage’ (Ca’ Foscari University of Venice, 2016), and gained over four years of experience working as an assistant curator and admissions coordinator in a museum of Modern Art in Italy. Her main research interests are the art market and collectionism, sustainability in arts and heritage, cultural policy and museology. Since October 2023, she is a PhD candidate in Cultural Management at the Université libre de Bruxelles, as part of the project MOOVA - Making Old Objects Valuable Again. The Cultural, Economic Challenges and Sustainability Opportunities of Antiques in the 21st Century (ERC-StG).
Shireen Atassi
Shireen Atassi is a prominent figure in the art world, known for her leadership in the preservation and promotion of Syrian art. Based in Dubai for over 25 years, Shireen serves as the Managing Director of the Atassi Foundation, a family non-profit initiative that she established in 2015 along with her family, who previously owned the Atassi Gallery in Damascus.
As the Managing Director, Shireen is responsible for overseeing the strategic direction and artistic planning for the Foundation . Her extensive experience in the corporate world, including an eighteen-year career in blue-chip companies, has provided her with the business acumen and strategic vision necessary to guide the Foundation toward achieving its goals.
Shireen obtained her MBA from Imperial College Business School in London in 1998, which equipped her with the knowledge and skills needed to succeed in the business world. However, it was her strong belief in the role of art and culture in the development of societies that led her to leave her corporate career and establish the Atassi Foundation. Shireen’s passion for preserving and promoting Syrian art stems from her deep appreciation for the profound impact that art can have on individuals and societies alike.
Shireen sits on the board of other art organisations such as ArteEast in New York and she mentors a number of emerging artists. She is a speaker on areas such as arts, philanthropy in the arts and social enterprises. Shireen’s unwavering belief in the transformative power of art and culture has been the driving force behind her work. She believes that art can connect people, transcend borders, and create positive change in society. The collection she now oversees at the Atassi Foundation has not only shaped her identity as an individual but also has driven her commitment to preserving the rich artistic heritage of Syria.
Arjmand Aziz
Arjmand Aziz is an Art Historian with research interests in contemporary Indigenous Australian art and South Asian art. She has Honours degrees in Political Science and Law from the Australian National University, a Diploma in Asian Art from the British Museum and an MA in Art History from SOAS University of London. In 2024 she was awarded a PhD from SOAS in the Department of History of Art and Archaeology. Her doctoral research examined the London art market, private galleries and Indigenous Australian art from 1988 to the present. Her advisory and curatorial work encompasses both British and Australian artists including Chila Kumari Burman, Penny Byrne and Luke Jerram.
Su Baker
Professor Su Baker AM is an artist, Pro Vice-Chancellor, Culture, and Professor in Art at the Victorian College of the Arts at the University of Melbourne. She was made a Member of the Order of Australia (AM) in 2018 for significant service to tertiary education in the visual and creative arts. She has more than twenty-five years’ experience in teaching, research and senior management accrued at Sydney College of the Arts, University of Sydney, and most recently, Victorian College of the Arts (VCA) where she was ten years, Head of the School of Art, and seven years, Director of the VCA. Su Baker has held solo exhibitions since 1983 in Perth, Sydney and Melbourne. Her painting has been included in significant group exhibitions including Perspecta '89 at the Art Gallery of New South Wales (1989), Dissonance: Aspects of Feminism at Artspace, Sydney (1993) and Heavenly Creatures at Heide Museum of Modern Art (2004-5). Baker was awarded the Portia Geach Portrait Prize in 1996. Her work is held in the collections of the Art Gallery of Western Australia, Artbank and several regional and tertiary collections. Sustained Sensation a monograph of her work was published in 2016. Su is Editor-in-Chief, Art+Australia Publishing, http://www.artandaustralia.com/ Chair, Australian Tapestry Workshop Board |https://www.austapestry.com.au and Deputy Chair, Gertrude Contemporary Board.
Marion Bertin
Marion Bertin, PhD., was born and raised in mainland France. She graduated with degrees in art history and museum studies from the École du Louvre, and in anthropology from La Rochelle Université. Her research focuses on the circulation and valuation of Oceanic objects in the art market and in public collections, from historical and contemporary perspectives. She was awarded an Immersion scholarship from the LabEx Création Arts Patrimoines (CAP) in 2020 and was in charge of provenance research at the Musée national Picasso-Paris. Between 2021 and 2023, she was a temporary lecturer (ATER) in Museology at Avignon Université and a researcher at the Centre Norbert Elias (UMR 8562). She joined the Centre d'histoire sociale des mondes contemporains (CHS UMR 8058) in November 2023 as a post-doctoral researcher (LabEx DynamiTe fellow 2023-2024). She is also editor of the online journal CASOAR and co-vice-chair of the International Committee for Museology (ICOFOM).
Marie Blum
Marie Blum is assistant professor at IESEG School of Management in Lille (France). She completed her PhD in 2021 at the University of Strasbourg and is focusing her research on art pricing issues and art auction markets.
Kathryn Brown
Kathryn Brown is Reader in Art Histories, Markets and Digital Heritage at Loughborough University in the UK. Her books include Art Auctions: Spectacle and Value in the 21st Century (2024); Dialogues with Degas: Influence and Antagonism in Contemporary Art (2023); Matisse (2021); Matisse’s Poets: Critical Performance in the Artist’s Book (2017); and Women Readers in French Painting 1870–1890 (2012). She has edited four essay collections: Companion to Digital Humanities and Art History (2020); Perspectives on Degas (2017); Interactive Contemporary Art: Participation in Practice (2014); and The Art Book Tradition in Twentieth-Century Europe (2013). She is the series editor of Bloomsbury Academic’s Contextualizing Art Markets.
Alicja Jagielska Burduk
UNESCO Chair on Cultural Property Law at the University of Opole. Co-chair of the TIAMSA Legal group, which gathers together art world professionals and scholars. Co-founder and editor- in-chief of the Santander Art and Culture Law Review. In 2014, nominated by the government of Poland as a mediator to the UNESCO Intergovernmental Committee for Promoting the Return of Cultural Property to Its Countries of Origin or Its Restitution in Case of Illicit Appropriation. In 2020, selected as an arbitrator for the Arbitrator Pool of the Court of Arbitration for Art (CafA) in the Hague.
Véronique Chagnon-Burke
Throughout her career, Véronique Chagnon-Burke has taught a wide range of subjects in art market studies and art history at Queens College, Parsons School of Design, and Hunter College, among other institutions. Her museum positions have included work at the Museum of Modern Art, she has also worked at the Hôtel Drouot in Paris. From 2002 to 2021, she was the Director of Christie’s Education in New York, where she taught the history of the art market and art history, more specifically classes on French art and on women artists.
A specialist in the history of nineteenth century French landscape painting, her fields of expertise include nineteenth century art criticism, the art market, and the role of women in the art world. She received her Ph.D. from The Graduate Center of the City University of New York, her M.A. from the Institute of Fine Arts of New York University, and her Licence from the Université Paris-Sorbonne. She is also a graduate of the Ecole du Louvre in museum studies.
Her current collaborative project is the Women Art Dealers Digital Archive (WADDA), a digital platform that maps the role women art dealers played in the institutionalization of modern and contemporary art. With Dr. Caterina Toschi, she recently edited, Women Art Dealers: Creating Markets for Modern Art, 1940-1990 (Bloomsbury Press, 2024).
In September 2022, she was elected co-chair of The International Art Market Studies Association [TIAMSA]. She a section editor for Bloomsbury Art Markets, published by Bloomsbury Press in 2023.
Catherine Chiang
Catherine Chiang is the Fair & Programme Manager of Frieze Seoul. She joined Frieze in 2021 as the Gallery Manager when Frieze first opened its permanent gallery space in London, No.9 Cork Street. Her curatorial career spans from Assistant Curator of the Korean Pavilion at 2022 Venice Biennale to Assistant Curator and Curatorial Fellow at Liverpool Biennial. Other previous projects include the artist development programme ‘London Creative Network’ at SPACE Studios in London, and a yearlong cultural exchange project in partnership with UK cultural institutions ‘Korea/UK Season 2017-18’ at Korean Cultural Centre. Her curatorial interest is in transdisciplinary practices, and she holds MA in Contemporary Art and Art Theory of Asia and Africa from SOAS, London.
Manuela Ciotti
Manuela Ciotti is Professor of the Social and Cultural Anthropology of the Global South at the University of Vienna where she leads the research team Sedimented visions. She has extensive research experience spanning two and a half decades and has carried out fieldwork in India, the US, and Italy among others on the topics of modernity, subaltern communities, gender and politics, art circulation, the history of the global south at the Venice Biennale, art collecting and art markets. She is the Principal Investigator of the ERC Advanced Grant 'The anthropology of the future: An art world perspective' (ANTHROFUTURE).
Bronwyn Coate
Bronwyn Coate is a senior lecturer in the School of Economics, Finance and Marketing at RMIT. She is a cultural economist whose research interests include art markets, creative industries and creative placemaking.
Julie Codell
Julie Codell, Art History Professor, Arizona State University, and affiliate in Film and Media Studies, English and Asian Studies, wrote The Victorian Artist (2003; 2012 pbk); edited Victorian Artists' Autograph Replicas (2020); Transculturation in British Art (2012); Imperial Co- Histories (2003); and co-edited Replication in the Long 19th Century (2018); Orientalism, Eroticism and Modern Visuality (2016); Encounters in the Victorian Press (2004), and Orientalism Transposed (1998; rpt. in Routledge’s Revival series, 2018). She edited a special issue, "Material Culture and the Pre-Raphaelites," for the Journal of Pre-Raphaelite Studies, 2022, contributed 25 book chapters, and published in Victorian Studies, Victorian Periodicals Review, 19th-C. Contexts, Victorian Review, Art History, Journal of the History of Collecting, Oxford Art Journal, Visual Resources, among other journals.. She received fellowships from the National Endowment for the Humanities, Getty Foundation, Kress Foundation, Huntington Library, Harry Ransom Center, American Institute for Indian Studies, and Yale's British Art Center. Her current research and teaching are on the art market, the history of collecting, the geohistory of art, and horizontal art history.
Elisa Consentino
Elisa Consentino, is an independent researcher and gallery assistant at the Viasaterna Gallery, based in Milan. In 2023 she has graduated in the Master of Economics and Management of Cultural Heritage and Entertainment at the Catholic University of Milan with a thesis on the evolution of the South African pavilion at the Venice Biennale supervised by Ginevra Addis, an Adjunct professor of Systems for the Management of Contemporary Art at UCSC. Her thesis proposes an extensive analysis of the evolution of the South African National Pavilion at the Venice Biennale from 1950 to the 2022.
Alessia Crotta
Alessia Crotta is a cultural economist and PhD student in Cultural Management at Université Libre de Bruxelles, as part of the ERC Starting Grant project MOOVA - Making Old Objects Valuable Again. The Cultural, Economic Challenges and Sustainability Opportunities of Antiques in the 21st Century. After a Bachelors in Economics and Politics (University of Milan, 2018), she pursued a Master’s in Cultural Economics and Entrepreneurship (Erasmus University Rotterdam 2019). Since then she has been working at Erasmus University as a Lecturer in cultural economics, statistics and history of the art market, and more recently as collaborating researcher at Fondazione Santagata for the Economics of Culture and at ArtFiles. Her main research interests concern art markets, the economics of the cultural creative industries and the complex interrelation between cultural, art historical and economic values, which she has researched using quantitative as well as qualitative methods. Within the context of MOOVA, she is investigating and mapping the current state of the contemporary market for ordinary antiques, examining supply and current valuation strategies. In that, she aims at understanding the contemporary economic value placed in ordinary antique objects by identifying the current market structure and business models - both offline and online - by which such objects are exchanged.
Stefano Baia Curioni
He earned his Degree in Economics (DES) from Università Bocconi, Milan, in 1980. In 1985, he obtained a Doctorat de troisième cycle at the Ecole des Hautes Etudes en Sciences sociales in Paris. Since 2000, he has been Associate Professor at the Department of Policy Analysis and Public Management. He is currently the Director of the ASK - Art, Science and Knowledge Research Unit at Università Bocconi, where he is also responsible for the Arts and Heritage Major in the Ms ACME of the Graduate School and for the Arts and Culture courses at the CLEACC Undergraduate programme. He has been a visiting professor at the PhD School of IMT Lucca - Heritage management and development. He has been Director of the Fondazione Palazzo Te (Mantova) since 2016.
Flavia De Nicola
Flavia De Nicola is an Early Modern art historian. She is currently professor of Liturgical Art and Architecture at The Catholic University of America – Rome Center and she taught “Art and Patronage in Renaissance and Baroque Rome” in the International Program of the Boston College in Rome (2023). Since 2020, she has served as Cultore della Materia (Honorary Fellow) in Early Modern Art History at the University of Rome Tor Vergata, while pursuing her doctoral degree with a dissertation on the Borghese collection and patronage at Villa Mondragone (Monte Porzio Catone, Rome) between 1613 and 1865. She collaborated as a curatorial intern at the Vatican Museums (2019-2020), and trained at the Ecole du Louvre (2012).
Her research interests include the history of collecting, and the provenance research, inventory and documentation of museum collections. She has taken part in several International conferences such as the “67th Annual Meeting of the Renaissance Society of America” (2021), and “The Third Balkan Symposium on Archaeometry. The Unknown Face of the Artwork” in Bucharest (2012). She has published on scientific journals and she has co-curated a monographic volume on the woodcuts of the Hypnerotomachia Poliphili incunabulum (2020). In 2012, she took part in a research project at the ENEA National Agency aimed at the study of Michelangelo's frescoes in the Sistine Chapel. Since 2014, she has been the co-founder and author of Milestone Rome art project.
Huixian Dong
Huixian Dong is a curator and PhD candidate. Her archive-based curation project on Agnes Smedley has been showcased at prestigious venues, including Beijing Lu Xun Museum, Shanghai Museum of Sun Yat-sen’s Former Residence, Peking University, and Northwest University. She contributes art criticism to Beijing Youth Daily. Her research paper on feminist art has been published in The Journal of Asian Arts and Aesthetics. Her latest endeavor involves curating Echoes of Home on Roosevelt Island, NYC, as a contribution to the Li Tang Asian Community. She teaches Chinese Contemporary Art at Arizona State University.
Adelaide Duarte
PhD in Museology and Cultural Heritage. Duarte is an art historian, and a researcher at the Institute of Art History at the School of Social Sciences and Humanities, Universidade NOVA de Lisboa (Portugal). Since 2023, she has been deputy director of the Institute of Art History. She coordinates the Postgraduate Program “Art Market and Collecting” since its first edition in 2016. Her main research interest covers topics such as private collecting practices, contemporary art collectors, art fairs and biennials, and issues around the concepts of the periphery and the global south. She is a member of TIAMSA-The International Art Market Studies Association and coordinates the subcommittee Art Market and Collecting: Portugal, Spain, and Brazil. As an author specialized in the history of the Portuguese art market, she contributes to the Bloomsbury Art Markets-Protagonist, Networks, Provenances. The Art Market and the Global South, from the Series Studies in the History of Collecting & Art Markets, by Brill, and coedited by Duarte and Pérez-Ibáñez, was recently launched (2023). She is also the author of Dialogues of Collectors (Lisboa, 2022).
Anne Dunlop
Professor Anne Dunlop FAHA is a specialist of late medieval and early modern European art, with a particular interest in Italy c. 1300-1500. She is the author or editor of seven books and catalogues, and has written on topics including early secular art, the geographies of artists' materials, and relations between Europe and Mongol Asia. She is the Director of the Australian Institute of Art History, and one of two Australian delegates to the International Congress of the History of Art. Her recent honours include appointments as Krautheimer Professor at the Max-Planck Institute in Rome, ands Research Fellow at the Institute for Advanced Study at Princeton. In 2022 she was selected to present the final plenary to the Medieval Academy of America.
Jane Eckett
Jane Eckett is a lecturer in art history and art curatorship at the University of Melbourne. She teaches and researches in modern and contemporary art, specialising in modernist sculpture and prints, multiple modernisms, diasporic avant-garde artists in the global south, and cross-cultural exchange. Her research has underpinned her guest curating two major exhibitions: Centre Five: bridging the gap (McClelland, Langwarrin, Vic., 2022–23), arising from her PhD thesis (awarded in 2017) and a 2021 postdoctoral research grant, and with Prof. Harriet Edquist, Melbourne Modern: European art and design at RMIT since 1945 (RMIT Galleries, Melbourne, 2019), the catalogue for which won best medium sized exhibition catalogue from the Art Association of Australian and New Zealand (AAANZ) in 2020. She is the editor and author of the introduction and five chapters of a newly published book, On Bunurong Country: art and design in Frankston (McClelland, 2023), which won best Collaborative Community History at the 2024 Victorian Community History Awards. Other recent publications include ‘Cultural nationalism and the avant-garde: Teisutis Zikaras in Kaunas, Freiburg, Melbourne’ in Meno istorijos studijos / Art History Studies (no. 14, Dec. 2023) and, with Prof. Andrew McNamara, a chapter on Ludwig Hirschfeld-Mack's monoprints in Historic Avant-Garde Work on Paper (Routledge, 2024).
Matilde Ferrero
Matilde Ferrero (Turin, 1995) holds a Bachelor’s Degree in Cultural Heritage (Turin Università degli Studi), and a Master’s Degree in Innovation and Organization of Culture and the Arts (Bologna Alma Mater). She is PhD candidate (Catanzaro Magna Graecia, visiting PhD at Rotterdam Erasmus University) with a project on market dynamics in contemporary arts, emerging artists as cultural entrepreneurs, the role of artist-run spaces as mediators between the market and society.
Jeni Fulton
Dr Jeni Fulton is Art Basel’s Head of Editorial, leading the fair’s global content strategy and its digital magazine. She is the series editor for the Art Market Report and Survey of Global Collecting, co-published by Art Basel and UBS. She read Philosophy at the University of Cambridge for her undergraduate degree and obtained her PhD on the subject of “Value and evaluation in 21st Century Art” from the Humboldt University in Berlin in 2017. She lectures on the art market, contemporary art history, and art and technology at Zurich’s University of the Arts (ZHdK), and teaches in the Executive Masters in Art Market Studies at the University of Zurich.
Laura Forti
She graduated in Economics and Management for Arts, Culture, and Communication - CLEACC Master of Science at Università Bocconi. Since 2007, she has been a researcher at the ASK - Art, Science, and Knowledge, participating in and coordinating many research projects dedicated to cultural institutions and art markets. She has been a member of the National Museum System Committee of the Ministry of Culture in 2017. She teaches "Heritage Management” and “The Transformation of the Cultural Sector" in graduate and undergraduate programs ACME and CLEACC at Università Bocconi and "Economics and Art Market" at the Brera Academy of Fine Arts in Milan.
Gareth Fletcher
Gareth Fletcher is the Director of Art and Technology at Sotheby’s Institute of Art, where he lectures on the relationships between technology, logistics and the art market. He also leads the Art Crime, and Art & Tech: Data, Market Analysis and Blockchain online intensive programmes. His has received a TECHNE AHRC scholarship to pursue his PhD examining the semiotics of provenance information in the establishment of cultural and economic value in the market for Near Eastern antiquities. His current research explores the integration of traditional art market processes within Web3 applications, and he sits on the Advisory Board for the Responsible Art Market (RAM) London Committee.
Heather Gaunt
Heather Gaunt (PhD, B Music, BAHons, PostGDip Art Curatorial Studies, GCertHigherEd) is Academic Specialist in the Museums & Collections Department, University of Melbourne. Her focus is creating and delivering innovative interdisciplinary teaching & learning opportunities for tertiary students, with collaborators across the academy, using the University’s cultural collections and museum venues. Heather has over 25 years’ experience in the museum sector across museum curation and collection management, in addition to museum-based pedagogy with a focus on health and medical humanities. She has published widely and presented internationally, in interdisciplinary museum-based tertiary education, as well as Library and Archive History. She is currently leading an innovative T&L research project, a Health Humanities Global Classroom under the banner of Universitas 21, with colleagues at University of Melbourne, The University of Hong Kong, and National University of Singapore, which utilises digitised collection objects across multiple university sites.
Georgia Gerson
Georgia Gerson is a PhD candidate in the History of Art department at the University of York. Her research is an interdisciplinary art-historical and sociological study that reconsiders the way value is constructed in the contemporary art market. In order to investigate this in a new, unique way, it takes as its case study the recent intervention into the market of non-fungible tokens (NFTs). One of the key questions of this research is whether the art market is functioning in the same way with this new category of goods. Prior to her PhD, from 2015-2019 she worked at a leading international commercial contemporary art gallery, gaining a rare insider’s working knowledge of the art market by creating and promoting exhibitions, attending international art fairs and working alongside leading artists and institutions worldwide. As such, her research combines her interest in contemporary art, her academic training in art history and professional experience in the art market. Alongside her PhD, Georgia is Co-Chief editor for Aspectus: A Journal of Visual Culture, a professional outlet for the thriving postgraduate History of Art department at the University of York. She also works as a Freelance Marketing and Communications Manager for a number of publicly-funded, female-led dance companies that challenge the structures and hierarchical archetypes currently in place in the contemporary dance sector.
Jarrod Haberfield
Jarrod Haberfield is an architect, educator and scholar with abiding interests in architecture and museology. His expert perspective on the ways that art and architecture relate to and influence each other is at the heart of his current doctoral research into the emergence of the house-museum as a hybrid architectural type.
Jarrod trained in his native New Zealand and on graduation relocated to Melbourne, where he remains; his career has seen him working in practices of diverse type and scale, with a specialisation in high-end residential design. In his role as director of an award-winning practice, he ran numerous projects from inception to completion, including private houses for which the incorporation of art collections brought a particular focus to the briefing and design processes. Developing expertise in the balancing of art display and domestic life sponsored Jarrod's deep interest in the relationship between art and architecture, which today defines both his professional and personal lives.
Alongside his practice interests, Jarrod is a passionate and experienced educator who has been involved for over a decade with the University of Melbourne as a tutor and critic across various Master of Architecture subjects including architectural design, architectural history and curatorial practice.
Rafaelle Hassine
Rafaelle Hassine is a doctoral student at the School for Advanced Studies in the Social Sciences (EHESS Paris), affiliated with the Laboratoire d’Anthropologie Sociale (Collège de France, EHESS, CNRS). Trained in art history and socio-anthropology, she is preparing a thesis on the contemporary art market. Through an analysis of the capitals and daily work invested in artworks from conception by the artist to resales on the secondary market, her research focuses on the construction of value. This multi-sited study focused on the high-end of the contemporary art market is informed by private archives, around a hundred interviews with market professionals, and over a year of daily observation in established artist studios, a primary market gallery, and a secondary market dealership. She conducted her research in Berlin, Paris, New York, and London, and was a Visiting PhD at the Marc Bloch Center in Berlin and Columbia University in New York. She teaches Social Anthropology and Economics of the contemporary art market, respectively at Nanterre Université and La Sorbonne Paris 1.
Sarah Hibbs
Sarah Hibbs is a curator, creative producer, and researcher living and working on Gadigal land (Sydney). With over a decade of experience across the private, independent, and not-for-profit art sectors, she has an in-depth knowledge of Australian and international contemporary art. She has held managerial positions as Co-Chair of experimental online arts publication Runway Journal; Director, Yavuz Gallery, Sydney / Singapore; and Chief of Operations at LoveArt Art Advisory, Sydney / New York. She has also previously worked as a Project Manager at Contemporary Arts Organisations Australia (CAOA) and has held positions at Artspace, Sydney; Swiss Institute, New York; and Gertrude Contemporary, Melbourne. She holds a Master of Art Curatorship from the University of Melbourne. She is a current PhD student at the School of Economics, Finance and Marketing at RMIT researching the contemporary art market within Australia.
Michael Hutter
Michael Hutter is Professor Emeritus at Berlin Social Science Center WZB. He was Research Director at Berlin Social Science Center (WZB) and Professor of Innovation and Culture at the Institute of Sociology, Technische Universität Berlin (2008-2014) and Professor of Economics at Universität Witten/Herdecke (1987-2007). He studies global art markets, conditions of innovation and creativity, and modes of valuation. Recent publications: The Rise of the Joyful Economy. Artistic Invention and Economic Growth from Brunelleschi to Murakami (Routledge, 2015) and Moments of Valuation. Exploring Sites of Dissonance (co-edited with Ariane Berthoin Antal and David Stark; Oxford University Press, 2015).
Alison Inglis
Dr Alison Inglis is an Honorary Fellow in the Art History program of the University of Melbourne. Before retirement, Alison co-ordinated the MA Art Curatorship programme (from 1995-2021), and taught subjects on Nineteenth-century Europe; Art, Markets and Materials; and museum studies (in particular issues in art museum management and art conservation).
She researches and publishes in the area of nineteenth-century British art and museum studies. Her experience in the field of curatorial studies is reflected in her past membership of several museum boards (see below) and her appointment as an Emeritus Trustee of the National Gallery of Victoria. Alison's past research projects included: British and Australian portraits in the National Gallery of Victoria; Australian art exhibitions 1968-2009; Scottish art in Australia. Alison has held the following administrative positions in the University of Melbourne: Discipline Head of Art History (2008-09); Deputy Head, School of Culture and Communication (2007); Associate Dean, Development, Faculty of Arts (2005-07). Her membership of cultural, educational and public boards and committees are extensive and include amongst many, 2010-2014 - Member of Charles Darwin University Art Advisory Board 2006-2019 - Member of Board of Directors, Heide Museum of Modern Art 2005-2014 - Member of Committee of Management, The Duldig Studio 1998-2015 - Member of Donald Thomson Collection Committee, Museum Victoria/University of Melbourne 1995-2004 - Council of Trustees, National Gallery of Victoria 1995-2003.
Gayathri Iyer
Gayathri Iyer is an art historian, dance historian and Indian classical dancer completing a PhD in temple sculpture and movement. Gayathri has spent more than a decade examining the nexus of text, stone and flesh in the interdisciplinary study of Indian art, and almost three decades as a student of dance. An India Foundation of the Arts grantee for dance history and a consulting art historian for Karnataka’s UNESCO World Heritage team, Gayathri has an equal passion for the static and dynamic in research and practice.
Seokho Brian Jeong
Seokho Brian Jeong has joined Art Busan Inc. in 2019 and is currently the managing director. Art Busan, first launched in 2012, has become Korea's leading fair in 2022, in terms of sales volume, visitor toll and the art fair ranking conducted by the Ministry of Culture, Sports and Tourism. In November 2023, he led the successful launch of Define Seoul, the company's new fair brand combining collectible design and contemporary art in the most vibrant district of Seongsu. In 2023, He co-founded a digital art platform company ArtRound Inc. together with the global blockchain VC Hashed, with the vision of expanding art market access to the broader range of audiences by offering transparent art services year-round. He received BA in Political Science and International Studies at University of California, Irvine. He has always maintained strong ties to the family firm and the art and design world, collaborating with many various galleries and institutions both within and outside of Korea. He has been a key player in introducing new international gallery programs to Korea through Art Busan.
Yuka Kadoi
Yuka Kadoi, PhD, is an art historian and art historiographer, with particular expertise in the mobility of artefacts, history of collecting and critical museology. Currently directing an FWF (Austrian Science Fund)-sponsored project, Persica Centropa: Cosmopolitan Artefacts and Artifices in the Age of Crises (1900-1950), at the Faculty of Historical and Cultural Studies, Department of Art History, University of Vienna, she is researching extensively on various aspects of Persian art in global contexts. She is the author or editor/co-editor of Islamic Chinoiserie (2009); The Shaping of Persian Art (2013); Arthur Upham Pope and A New Survey of Persian Art (2016); Persian Art: Image-making in Eurasia (2018), The Blue Road: Mastercrafts from Persia (2018), The Reshaping of Persian Art (2019), Collecting Asian Art (2024), as well as recently a special issue of The Journal of Art Historiography (2023). She is currently finalising the manuscript of her second monograph (under contract with EUP), which deals with the early twentieth-century history and historiography of Persian art.
Shinwook Kim
Shinwook Kim is an award-winning artist based in Seoul, London, and Milan. Kim received his doctorate degree in Fine Art at University of East London, MA in Fine Art Photography at Royal College of Art in the UK and BA in Fine Art at Goldsmiths, University of London. He has exhibited and been awarded in the UK, France, Italy, The Netherlands, Belgium, Finland/Sweden, Japan, and South Korea. His works are held in the permanent collection at the Kiyosato Photo Art Museum in Japan, Oriel College, University of Oxford in the UK, GoEun Museum of Photography, KT&G SangSang Madang, Seoul City Hall in South Korea, Ministry of Unification of the South Korean government and many more. In September 2022, he was invited to hold a solo exhibition as an award winner for the 20th Manifesto Photo Festival in Toulouse, France. He was awarded the 12th IL WOO Photograph Award presented by the Hanjin Group (Korean Air), the most renowned photography prize in Korea, and held a solo exhibition. In 2023, he was awarded the Study UK Alumni Awards 2022−23 ‘Culture and Creativity Award Winner’ in Korea given by the British Council. He currently works as a professor of the School of Photography & Motion Picture at Kyungil University in Korea.
Yewon Kim
Yewon Kim is an experienced art professional based in London with a decade of experience in the art industry. Yewon holds an MA from the Sotheby's Institute of Art in London and a BA from the Central Saint Martin’s College of Art, also in London. Yewon joined the sales team at White Cube gallery in London in 2015 and subsequently expanded her role to Curatorial team, where she currently holds the position of Senior Artist Coordinator. Yewon has been responsible for cultivating and managing the gallery's relationship with the Korean artist Park Seo-Bo, the leading figure of the Dansaekhwa movement, since his inaugural solo exhibition with the gallery in 2016. In addition to the major retrospective of Park Seo-Bo held at White Cube London in 2021, Yewon has worked on numerous exhibitions featuring over twenty international artists and estates, including Gabriel Orozco, Takis, Christine Ay Tjoe, Bram Bogart, Minoru Nomata, and prominent Korean artists, such as Minjung Kim, Lee Seung Taek, and most recently, Lee Jin Woo. Yewon has also played a pivotal role in the development and opening of the White Cube gallery in Seoul.
Sina Knopf
Sina Knopf studied art and cultural history at the universities of Augsburg, Stockholm, and Berlin. Since September 2021, she has been a PhD candidate at the Institute of Art History at the University of Zurich and, since February 2022, a doctoral researcher in the research project «Players in the Swiss Art Trade» at the Swiss Institute for Art Research (SIK-ISEA) in Zurich. Her research interests in historical art market studies and provenance research focus on trading infrastructures, commercial practices, network structures, and the translocation of cultural property in the 20th century. Alongside her academic research, she has worked as an art historian and provenance researcher on the art market and in various art and cultural projects in Berlin. She was a research assistant on different research projects in the UK.
Tsukasa Kôdera
1980 BA, Osaka University, History of Western Art
1981-1983 MA (doctorandus), Kunsthistorisch Instituut, Universiteit van Amsterdam
1988 Doctor der Letteren, Universiteit van Amsterdam
1988-1996 Lecturer-Associate Professor, Hiroshima University, Faculty of Integrated Arts and Sciences
1997-2001 Associate Professor, Osaka University, Faculty of Letters, Department of Art History
2001- Professor, Osaka University, Faculty of Letters, Department of Art History
2004 Visiting Scholar, Warsaw (Polish Academy of Sciences, Jewish Historical Institute)
2023 Professor Emeritus, Osaka University
Award: Erasmus Study Prize 1989 (Erasmus Foundation, The Netherlands)
Kara Kaifang Ma
Kara Kaifang Ma is a PhD Candidate in the Department of East Asian Studies at the University of Toronto, where she is conducting research on the Bishop William C. White collection of Chinese art and archaeological materials housed at the Royal Ontario Museum (ROM). Prior to returning to academia in her pursuit of a doctoral degree, Kara worked as an Assistant Technician at ROM, overseeing the East and South Asian collections, including acquisitions, gallery rotations, exhibition planning and loans. Kara also contributed to various museum catalogues on ROM’s East Asian collections. It is this experience at ROM that sparked her love and passion for museums and objects.
Christopher R. Marshall
Christopher R. Marshall is Associate Professor in Art History, Curatorship and Museum Studies in the Faculty of Arts, University of Melbourne. His publications on Baroque art and the art market include Artemisia Gentileschi and the Business of Art (Princeton UP, 2024); Baroque Naples and the Industry of Painting (Yale UP, 2016); and chapter contributions to The Economic Lives of Seventeenth Century Italian Painters (Yale UP, 2010) and Mapping Markets in Europe and the New World (Brepols, 2006). His publications on museums and curatorship include Sculpture and the Museum (Routledge/Ashgate, 2011) and contributions to Museum Making; Making Art History and Reshaping Museum Space (Routledge: 2005, 2007, 2012). His research distinctions include two years support from the Australian Research Council, the Paul Mellon Visiting Senior Fellowship (Centre for Advanced Study in the Visual Arts, National Gallery of Art, Washington DC), a Senior Research Fellowship at the Henry Moore Institute, Leeds, a Research Fellowship at the Museo poldi Pezzoli, Milan, and Visiting Senior Lecturing Fellowships at the Hubei Institute of Fine Arts, Wuhan, and the Department of Art and Art History, Duke University, Durham NC.
Alice Martignon
Alice Martignon (PhD in History of Art, University of Udine) since 2021 is a Research Grant Holder (post-doc) at Ca’ Foscari University of Venice and coordinates the ARMID@Venezia research project. She is also a member of the Research Group “Characterization of Materials of Cultural Heritage”, a collaborator of the Materials Characterization Laboratory and a Subject expert at the Ca’ Foscari University of Venice. Dr. Martignon acquired the title of Expert in methods and techniques of cultural heritage conservation and preservation following an annual FSE training course (organized by Ca’ Foscari), has been a Postdoctoral Fellow at the Giorgio Franchetti Gallery in the Ca’ d’Oro, collaborated with the Regional Directorate for Museums of Veneto region, and curated courses and workshops for PhD in History of Arts (Ca’ Foscari) and Ca’ Foscari School for International Education. She has worked at the Venice Civic Museums Foundation and curated exhibitions at the House Museum of Villa Monastero, Lecco. Alice Martignon is a member of the Scientific Committee of ARMID@Venezia, The International Art Market Studies Association, The Society for the History of Collecting, the Arbeitskreis Provenienzforschung e.V., and the Association of Historians of Nineteenth-Century Art; she is also affiliated with the Venice Centre for Digital and Public Humanities (Ca’ Foscari). Her research interests are the art market, the licit and illicit exports of cultural goods, the collecting, the decorative arts, as well as the exhibition events, with a focus on the mid-nineteenth-early twentieth century period; she also deals with digital humanities, in particular digitization, virtual restoration and the building up of databases of exported cultural goods.
Fiona Menzies
Fiona Menzies is a senior leader across the arts & cultural, government and philanthropic sectors.
Her career has linked a deep interest in philanthropy and partnerships with policy making and program delivery, and a passion to help the arts and cultural sector build capacity and sustainability, for the benefit of communities across Australia.
From 2013 to 2023, Fiona was CEO of Creative Partnerships Australia, a Commonwealth Government agency that built the fundraising capacity of the Australian arts & cultural sector. This included the management of the Australian Cultural Fund, which increased tenfold during this period.
Prior to this, Fiona was Development Manager at the Wheeler Centre for Books, Writing and Ideas, where she was part of the inaugural team that established the Wheeler Centre in Melbourne in 2009.
Fiona’s interest in private giving to the arts began at the University of Melbourne, where she completed her undergraduate thesis on a private art collection donated to the State of South Australia. Fiona completed a Masters degree at the Courtauld Institute of Art in London, also focussing on a donated collection – costume designs for a ground breaking 1914 production of A Midsummer Night’s Dream.
Following this, Fiona took a sidestep into politics where she worked as Adviser then Chief of Staff to two Commonwealth Government Arts Ministers. During that time, Fiona worked across the arts and film portfolio, but continued her interest in giving by playing a key role in the introduction of new measures in the taxation system to increase private sector support for the arts.
Fiona is a Trustee of the Gordon Darling Foundation and serves on the Board of TarraWarra Museum of Art. She served on the Board of the St Catherine’s School Foundation for eight years and on the Board of the Dame Nellie Melba Opera Trust.
Fiona has also been a member of the General Sir John Monash Foundation selection panel, a member of the Asia Pacific Advisory Council of the Council for Advancement and Support of Education (CASE), and a member of the Pro Bono News Editorial Advisory Board.
Vanessa Merlino
Vanessa Merlino has worked in Australian First Nations Art for 15 years and is currently the Head of Research for D’Lan Contemporary, Melbourne.
Starting as a Field Officer for Papunya Tula Artists and then as Studio Manager at Ninuku Arts in the APY Lands, Vanessa has worked closely with several of Australia’s most significant First Nations artists, including Makinti Napanangka, George Tjungurrayi, Naata Nungurrayi and Warlimpirrnga Tjapaltjarri. In these roles, she acquired a rich understanding of artists and art centres, their essential role in communities, and their major contribution to contemporary Australian art.
Living in remote First Nations communities informed her current research role, work with private art collections and involvement in the primary and secondary art markets. She has written and spoken nationally and internationally on Australian First Nations Art and contributed to major exhibitions in Sydney, Melbourne, New York, and London.
Vanessa is completing a Graduate Diploma in Art History at The University of Melbourne. She holds graduate degrees in Visual Arts, Community Cultural Development, and Art Curatorship.
Adelina Modesti
Dr Adelina Modesti is an Honorary Senior Fellow in Art History in the School of Culture and Communication, University of Melbourne, and former Australian Research Council Post-Doctoral Fellow at La Trobe University (History), researching women’s cultural patronage and networks in early modern Italy (2008-2011). Prior to this she was an AEUIFAI Postdoctoral Fellow at the European University Institute, Florence, and Lecturer in Theory and History of Art and Design at Monash University (1984-2002). She received her doctorate from Monash in 2006 with a dissertation on the Baroque artist Elisabetta Sirani of Bologna, on whom she has published widely, including a 2014 monograph-catalogue raisonné. Adelina’s research focuses on female cultural production and patronage by women in early modern Italy, the cultural exchange and transfer of luxury goods between the courts of Europe, the history of collecting and the art market, and the textile production of nuns and court ladies. Together with Dr Consuelo Lollobrigida (University of Arkansas Rome Center), Adelina is editor of the new series by Brepols, Women in the Arts: New Horizons. For many years she was an AWA Advocate in Florence for the Advancing Women Artists Foundation, founded by the late Dr Jane Fortune.
Her publications include:
Women in Arts, Architecture and Literature: Heritage, Legacy and Digital Perspectives. Proceedings of the First Annual International Women in the Arts Conference, co-edited with Consuelo Lollobrigida and Introduction by Adelina Modesti (WIA 1) (Turnhout, Brepols 2023).
Elisabetta Sirani (London: Lund Humphries, and Los Angeles: Getty Publications, 2023)
Women’s Patronage and Gendered Cultural Networks in Early Modern Europe. Vittoria della Rovere, Grand Duchess of Tuscany (London & New York: Routledge, 2020)
Elisabetta Sirani ‘Virtuosa’. Women’s Cultural Production in Early Modern Bologna (Turnhout: Brepols, 2014)
Elisabetta Sirani. Una virtuosa del Seicento bolognese (Bologna, Editrice Compositori, 2004).
'Patrons as Agents and Artists as Dealers in Seicento Bologna', in The Art Market in Italy: 15th -17th centuries, edited by Marcello Fantoni, Louisa Matthew and Sara Matthews-Grieco (Modena: Panini, 2003), pp. 367-388.
Michael Moignard
Dr Moignard graduated as a PhD at La Trobe University in 2021. His thesis topic was Australian Art Collectors and their Collections, 1920-1940. He has presented papers to Australian History Association (AHA) conferences in July 2016, to the University of New England in November 2016, and to the Art Association of Australia and New Zealand (AAANZ) conferences in December 2017 and December 2021. He has given presentations on the Howard Hinton Collection at the New England Art Museum in 2016 and 2019 and to the Hazlehurst Regional Gallery in 2016. He has presented two papers on Australians and Indian art to the Australia India Institute (AII), where he is an Academic Fellow. His interests include Australian art between the wars, and the Australian response to modernism in the 1930s.
Ana Paula Moreno
Dr Ana Paula Moreno is an affiliated researcher in Art Economics at Fundação Getúlio Vargas, Faculty of Economics (FGV Invest) and visiting research fellow of TRAin Research Center (Transdisciplinary Research Center of Arts and Design) of University of the Arts London (UAL). Her publications and contributions are on the relationship between art fairs and the internationalization of the Brazilian contemporary art market (International Journal of Business and Economics Research), São Paulo Art Biennial and its relation to the Brazilian art market at International (Journal of Science, Technology and Society), Media and Design on Culture Preservation (Trama Interdisplinar Journal).
Shatavisha Mustafi
Shatavisha Mustafi is an Assistant Professor at School of Liberal Studies, UPES, India. Mustafi was a Fulbright-Nehru Doctoral 2019-2020 fellow at the Department of Art, Theory and Criticism, MIT. Her study tracked how value-making in the ‘artworld’ is based on the economic structures that underlie the practice and circulation of art. She is a recipient of several research and travel grants from institutions of global repute like, the Getty Foundation, Nehru Trust for the Indian Collection at the Victoria and Albert Museum and the UNESCO-Shahapedia, among others.
Shatavisha holds an undergraduate degree in Comparative Literature and has a Masters as well as an M.Phil degree in Art History from Jawaharlal Nehru University, India. The Indian Council of Social Sciences and Research, Ministry of Education, India has recognized her work by supporting her doctoral research which is on the ecologies of value-making in Indian art. Her artistic endeavors led her to curate a few exhibitions as well. Shatavisha’s research interests include, art connoisseurship, structures and institutions of art patronage in South-Asia and contemporary art movements.
Laura Johanna Noll
Dr. Laura J. Noll from the University of Zurich holds a PhD and Postdoc in art economics from the University of St.Gallen. She has 6 years of research experience in cultural economics, art economics and art sociology – including a research visit at Copenhagen Business School – and practical experience in collaboration with diverse art institutions (e.g. Sotheby‘s, Galerie Nordenhake). At the University of St.Gallen, Laura founded and directed the Competence Center for Art+, a research center specialized in international art markets. Here, she supervised research projects and applied research collaborations with 7 renowned art institutions (e.g., Christie's, Art Basel, Grisebach). Laura has published and contributed to diverse international conferences on the valuation of art and culture, art prices, auctions, artist gender and the role of sustainability for museums. She is also a supervisor, lecturer and moderator of workshops and events (e.g., Ai Weiwei).
Helena Oliveira
Helena Oliveira is a postgraduate in Economics and Management of Arts and Cultural Activities at the University Ca’ Foscari of Venice. Her academic journey started with a bachelor’s degree in Archaeology from the University of Porto, Portugal and would later culminate in a master's thesis centered on the investigation of art fraud within the art market. Throughout her in-depth study of art fraud, Helena developed a interest in researching the ethical and legal challenges prevalent in the Indigenous art market of Australia.
Emily Peacock
Emily Peacock is a PhD student at Maastricht University in the Netherlands. Her research is focused on the buyers’ end of the illicit trade in portable antiquities, and the way the art market functions online. A Roman archaeologist with a BA in Classics and an MA in Cultural Heritage Management, Emily's academic background has laid the groundwork for her research into the illicit antiquities trade. Alongside her PhD, Emily is a research assistant on the Transform Trafficking research project funded by the European Research Council (ERC). This project, based at Maastricht University, focuses on the complex transformations objects undergo as they navigate the art market. Emily's role in this research involves delving into the captivating world of the art market and its impact on the movement and value of cultural objects. Emily's current research extends into the realm of dinosaur fossils, where she examines the art market's influence on the trade of dinosaur fossils. Her exploration of the intersections between palaeontology, art, and commerce highlights her interdisciplinary approach to the illicit market. Emily also contributes to the York Beneath Our Streets project, led by the York Archaeological Trust. This initiative into the Roman roots of the city sheds light on the Roman legacy of York.
Marta Pérez-Ibáñez
PhD in History and Arts, University of Granada, Spain. Master in Art History, Universidad Autónoma in Madrid (Spain.) Professor at Universidad Francisco de Vitoria, Madrid (Spain.) Specialized in contemporary art market, and arts and culture management. Currently lectures on Contemporary Art, Art Market Management and Cultural Management in several universities and institutions, in and out of Spain. Member of the associations The International Art Market Studies Association TIAMSA, Mujeres en las Artes Visuales MAV and Instituto de Arte Contemporáneo IAC, of which she was president from 2020 to 2023. Member of the research clusters Art market and collecting. Portugal, Spain and Brazil (AMC_PSB), TIAMSA’s subcommittee, and other research groups. Section Editor specialized in the Spanish and Portuguese art markets at De Gruyter Publishing, Berlin (Germany) and Bloomsbury, London (UK.) Author of the professional and economic context of the artist in Spain. Resilience facing new paradigms in the art market (Granada, 2018.) Co-author of the research studies the economic activity of artists in Spain (Granada, 2018,) Study on the impact of artists mobility in European cities. The CreArt Project (Valladolid, 2020) and coordinator and co-author of Gender inequality in the Spanish art system (Madrid, 2021.).
Giada Pellicari
Giada Pellicari is a Ph.D. Candidate in Visual and Media Studies, Curriculum Visual Arts at Iulm University in Milan, where she is developing a research on the evolution of model of art fairs.
At Duke University, Department of Art, Art History and Visual Studies she was a DALMI Fellow and Visiting Scholar for the Fall Term 2023, and she was a Visiting Ph.D. Student at Université Libre de Bruxelles-Solvay Brussels School of Economics and Management (June-July 2023).
Previously, she was an Adjunct Professor of Museology and History of Collecting at Albertina Academy of Fine Arts (2021-2022), Turin; a Research Fellow in Art Market Analysis at IUAV University in Venice in (2020-2021); and lecturer at IED for the course “Contemporary Art in Venice-The Biennale Exhibition” in 2019. She published essays and authored a book.
Kristijan Poljanec
Dr Kristijan Poljanec is Assistant Professor in the Department of Business Law at the Faculty of Economics and Business, University of Zagreb. He received his PhD in comparative auction sale law from the Faculty of Law, University of Zagreb. He was a visiting researcher at the Max Planck Institute for Comparative and International Private Law in Hamburg, Europa-Institute in Saarbrücken and a Cegla Visiting Research Fellow at the Buchmann Faculty of Law, Tel Aviv. Besides his teaching, research and project activities, Kristijan is the president of the ICC Commission for Commercial Law and Practice Croatia. His research interests include auctions law, law of charities and foundations, cultural heritage, art and property law, digital market law, commercial and company law, and European private law. In September 2022, he published a research monograph with Routledge titled Legal Theory of Auction. He has recently started a new book project on the global art investment market, technology & private law.
Zoran Poposki
Dr. Zoran Poposki FRSA is an artist, art educator, and researcher who works across multiple disciplines, including digital art, visual culture, and visual semiotics. His recent research has been published in the journals Leonardo (MIT Press) and Visual Studies (Taylor & Francis), as well as in edited volumes by Palgrave and Bloomsbury Academic.
Shen Qu
Shen Qu is a second-year art history Ph.D. student at the School of Art, Arizona State University. She also serves as the president of the Council of Graduate Art Historians at ASU. She earned her M.A. degree in history of art and archeology at IFA, NYU. Her research interests are contemporary art, the post-war art market, feminist art history, and pre-modern East Asian art theories. With a focus on materiality, she develops and teaches a higher division undergrad course dedicated to craftsmanship in pre-modern East Asia based on her past working experiences in cultural heritage residency programs in mainland China. Her published writing focuses on art criticism and covers public art, curation, and museum studies.
Jenny Beatriz Quijano Martinez
Dr Jenny Beatriz Quijano Martinez is an art historian who was awarded a PhD from the University of Melbourne, where she examined ‘Spanish influence on Australian painting, 1880s-1910s: Manifestations of wave behaviours’. Her research interests include Australian and Spanish art with cross-disciplinary art, theory, and physics. Also, her current research interests expand to Spanish and Latin American artistic engagement with Australian art and culture. Over the ten years of working experience, she has had the privilege to work within tertiary institutions in Australia and Colombia. She has worked as a tutor and guest lecturer at the University of Melbourne. Her writing has been published in journals such as Boletín de Arte (Spain) and Historia Caribe (Colombia). Her professional career started in Colombia when she graduated as a Historian and finished her MA in Art History in Spain.
Claudia S. Quinones Vila
Attorney with license to practice in New York and Puerto Rico. Extensive professional and academic experience in the field of art and cultural heritage law, including issues relating to the intersection of international and domestic law, enforcement of patrimony legislation, illicit trafficking of antiquities, intellectual property and the application of copyright and moral rights, due diligence and provenance, management of private collections, deaccession and digital initiatives in museums, new technologies and cultural/creative industries policy. Currently working as a consultant at Canvas Art Law in London, following 5 years as an associate at Amineddoleh & Associates in New York and prior internships at UNIDROIT in Rome and Constantine Cannon’s Art and Cultural Property Group in London. Published in several peer-reviewed publications, including the Santander Arts and Culture Law Review, the Journal for Art Market Studies, Gdánsk Legal Studies, and Routledge (forthcoming). Member of the TIAMSA Legal Group, European Society for International Law (ESIL), the International Law Association (ILA) and Society of English and American Lawyers (SEAL).
Anne-Sophie V. Radermecker
Anne-Sophie V. Radermecker is an associate professor in Cultural Management at the Université libre de Bruxelles (Chaire d’Economie des arts et de la culture). She graduated in both art history (University de Liège) and Cultural Management (Université Libre de Bruxelles). In 2019, she defended an original PhD dissertation dedicated to the contemporary market for Flemish old masters, at the crossroads of art history and economics. She is also a B.A.E.F. fellow from Duke University (DALMI - Duke Art Law & Markets Initiative) and a lecturer at Erasmus University Rotterdam (Master in Cultural Economics & Entrepreneurship). Her main research interests are the economics of art and culture, the market for old master paintings, the economics of antiques and indeterminate works of art, the reciprocal interactions between museums and the art market (including acquisition policies and deaccessioning), the issue of value in cultural economics, and quantitative methods applied to art history. She has published several cross-disciplinary papers in art history, cultural economics, economic history, economic, and cultural management journals. Her book entitled Anonymous Art at Auction was released in July 2021 (Brill, Studies in the History of Collecting & Art Markets). In 2023, she was granted an ERC starting grant for her project MOOVA - Making Old Objects Valuable Again. The Cultural, Economic Challenges and Sustainability Opportunities of Antiques in the 21st Century.
Clarissa Ricci
Clarissa Ricci is Adjunct professor at the University of Bologna. Her research focuses on the history and networks of exhibitions, biennials, fairs, and on contemporaneity. She was a recipient of the Getty/ACLS Postdoctoral Fellowship in the History of Art (2019–2020) and previously she was entrusted by Iuav University in Venice (2017–2019) with researching the foundation of Arte Fiera (Bologna). She was a visiting scholar at Columbia University in New York City and recipient of a Library Research Grant by the Getty Research Institute in Los Angeles. She is the author of APERTO 1980-1993. La mostra dei giovani artisti alla Biennale di Venezia (Postmedia Books, Milano, 2022) and editor of several volumes, including Starting from Venice. Studies on the Biennale (2011). She is founder and editor of the academic journal OBOE journal and of Venezia Arti (Ca' Foscari University).
Anne Rothfeld
Dr. Anne Rothfeld works in the U.S. Federal Government an archivist and historian, including the U.S. Holocaust Memorial Museum and the National Archives and Records Administration. She earned her PhD from American University, and her scholarly interests include the collaborative roles of art dealers, collecting histories of stolen artworks, and restitution efforts in the Allied occupation zones. Currently, she’s editing her dissertation for publication, and researching her next book project documenting a female Fine Arts officer’s restitution efforts of Austrian-owned cultural property under the auspices of the U.S. Army military occupation in postwar Austria. Dr. Rothfeld consults on historical research projects and presents analytical reports regarding World War II and Holocaust-Era Assets, published in national and international journals and books, and is a 2023-2024 recipient of a research grant from the Botstiber Institute for Austrian-American Studies, and 2024 U.S. Holocaust Memorial Museum international seminar participant.
Chen Shen
Dr. Chen Shen is the Co-Chief Curator, Arts and Culture, at the Royal Ontario Museum (ROM). Dr. Shen has curated many exhibitions at ROM, including 2002’s critically acclaimed Treasures from a Lost Civilization: Ancient Chinese Art from Sichuan, and The Warrior Emperor and China’s Terracotta Army (2010) which garnered one of the best attendances in ROM’s history. As an archaeologist and scholar, Dr. Shen has organized and participated in multiple archaeological digs in China, US, and Canada. In addition to his other appointments, Dr. Shen is a professor at the University of Toronto, teaching two popular courses in the Department of East Asian Studies: Art and Archaeology of Early China and Technology and Cultural Materials in Ancient China. Dr. Shen is also the author of numerous academic papers and books, published in both English and Chinese, focusing on the field of prehistoric technology, Palaeolithic archaeology, human evolution in East Asia, culture heritage and museum studies. His most recent book: Entering the World of Wonder: Thoughts on Contemporary Museums (2019 printed in Chinese) has become popular reading in China.
Elzbieta Sklodowska
Elzbieta Sklodowska is a Randolph Family Professor of Spanish at Washington University in Saint Louis. She has published widely on cross-disciplinary topics pertaining to Latin America and the Caribbean, including books on parody, testimonio, and relations between Cuba and Haiti. Her 2016 monograph, Invento luego resisto: El Período Especial en Cuba como experiencia y metáfora (1990-2015), explores the ways in which literature, art, film and political discourses in post-1991 Cuba reflect the dramatic changes after the collapse of the Soviet system. She is a co-editor, with Mabel Cuesta, of Lecturas atentas. Visita desde la ficción y la crítica a veinte narradoras cubanas contemporáneas (2019), a critical anthology of Cuban women writers, both from the island and the diaspora. Currently, she is at work on Alternative Lineages: Contemporary Cuban Women Writers and Artists and engaged in several projects related to the material, aesthetic, and symbolic legacies of the Caribbean sugar plantation.
Terry Smith
Terry Smith is Andrew W. Mellon Professor of Contemporary Art History and Theory in the Department of the History of Art and Architecture at the University of Pittsburgh, and Professor in the Division of Philosophy, Art and Critical Thought at the European Graduate School. He is also Faculty at Large in the Curatorial Program of the School of Visual Arts, New York. From 2011 to 2014 he was Distinguished Visiting Professor at the National Institute for Experimental Arts, College of Fine Arts, University of New South Wales, Sydney. He was the 2010 winner of the Franklin Jewett Mather Award for art criticism conferred by the College Art Association (USA), and in 2011 received the Australia Council Visual Arts Laureate Award. In 2014 he was a Clark Fellow at the Sterling and Francine Clark Institute, Williamstown, Massachusetts, in 2007-8 the GlaxoSmithKlein Senior Fellow at the National Humanities Research Centre, Raleigh-Durham, and in 2001-2002 he was a Getty Scholar at the Getty Research Institute, Los Angeles. From 1994 to 2001 he was Power Professor of Contemporary Art and Director of the Power Institute, Foundation for Art and Visual Culture, University of Sydney. He was a member of the Art & Language group (New York) and a founder of Union Media Services (Sydney). During the 1970s he was art critic at these Australian newspapers: Weekend Australian, Nation Review, Times on Sunday; he continues to write for art journals and magazines throughout the world. A foundation Board member of the Museum of Contemporary Art, Sydney, and from 2004 to 2014 Board member of the Andy Warhol Museum, Pittsburgh, he is currently a member of the Board of the Carnegie Museum of Art, Pittsburgh. In 1996 he was elected a Fellow of the Australian Academy of the Humanities and a Membré Titulaire of the Comité International d’Histoire de l’Art.
His major research interests are contemporary art of the world, including its institutional and social contexts; the histories of multiple modernities and modernisms; the history and theory of contemporaneity; and the historiography of art history and art criticism. He has special expertise in international contemporary art (practice, theory, institutions, markets), American visual cultures since 1870, and Australia art since settlement, including Aboriginal art. Current graduate students under his supervision are working on topics such as critical global practices, new media art, alternative avant-gardes, artists’ collectives, the history of conceptualism, aspects of cultural policy, and histories of art writing. He teaches the undergraduate course Introduction to Contemporary Art, and a graduate seminar on theories of modernity and contemporaneity.
Yuqing Song
Yuqing Song is currently a second-year PhD student in Economics and Management Sciences at Université libre de Bruxelles. Her main research topic is authenticity issues of the Chinese art market and her research interests include cultural heritage, art markets, and antiques.
Contact: yuqing.song@ulb.be
Gloria Guirao Soro
Gloria Guirao Soro holds a PhD in sociology from the Université Paris 8 and Universitat de Barcelona. She is an associate researcher at the CECUPS (Center for the study of culture, politics and society) in Barcelona and the CRESPPA-LabToP (Paris center of research in sociology and political science). Her research focus on artist mobility and migrations, social inequalities in the arts and globalization.
Sylvie Tersen
A graduate of the Ecole du Louvre, with a DEA in art history from Paris IV Sorbonne, I worked as a curator in the French West Indies and mainland France for 30 years. In charge of creating the Saint John Perse Museum in Guadeloupe, I was particularly interested in cultural and artistic exchanges between France and the United States from 1930 to 1980. Author of articles and exhibition catalogs, and curator of exhibitions; my work has focused on the relationship between painting, sculpture and literature between 1920 and 1960.
As honorary curator, I am currently conducting research on the place of women in contemporary art (1920 to 1960), on women artists who were invisible, and on women art patrons and dealers. My approach is both artistic and societal.
David Throsby
David Throsby is Distinguished Professor of Economics at Macquarie University in Sydney, Australia. He holds a Masters degree from the University of Sydney and a PhD from the London School of Economics. He is internationally recognised for his research and writing on the economics of art and culture. His current research interests include heritage economics, the creative industries, the economic circumstances of creative artists, culture in sustainable economic development, and the relationships between economic and cultural policy. His recent books include Economics and Culture (2001), which has been translated into eight languages, and The Economics of Cultural Policy (2010), both published by Cambridge University Press.
Bianca Tinoco
Bianca Andrade Tinoco holds a PhD in Theory and History of Art from the Postgraduate Program in Visual Arts at the University of Brasília (2021). The doctoral dissertation The preservation of performance in contemporary art collections in Brazil, supervised by Prof. Dr. Emerson Dionisio Gomes de Oliveira, received an honorable mention in the 2022 Capes Dissertation Award in the area of Arts. To write her dissertation, Tinoco received a CNPq scholarship for a doctorate investigation abroad (Universidad Autónoma de Madrid – Spain), supervised by Prof. Dr. Juan Albarrán Diego, from January to June 2020. She holds a master's degree in Contemporary Poetics from the University of Brasilia (2009) and a BA in Social Communication/Journalism from the Federal University of Rio de Janeiro (2001), with a specialization in History of Art and Architecture in Brazil from the Pontifical Catholic University of Rio de Janeiro (2005). She was a volunteer professor at the Institute of Arts at the University of Brasilia in 2019. She is a member of the Musealization of Art: Poetics in Narratives research group (UnB / UFBA - Brazil). Her research topics include: the contemporary art system; the contemporary art market; the insertion of language categories that emerged in the second half of the 20th century into the art system; and the institutionalization of performance art.
Michele Trimarchi
Michele Trimarchi, PhD, teaches Public Economics (Magna Graecia at Catanzaro), Cultural Economics (IUAV at Venice) and Arts Management (IED at Florence). Economic expert in international cultural cooperation (Indonesia, India, Jordan, Balkan area, Uganda, Guatemala, Brazil), Michele has coordinated UE-funded projects on cultural heritage and tourism, and assisted public institutions in crafting their strategic plans (Siena Museum Foundation, Caserta Royal Palace, Sulcis Mines Trail, Pompeii Archaeological Park). In 2010 he founded Tools for Culture, a nonprofit active in building strategies for the arts and culture.
Gerard Vaughan
Dr Gerard Vaughan was Director of the National Gallery of Australia from 2014 to 2018. A graduate of the universities of Melbourne and Oxford, his career has been divided between academia and the world of museums and galleries in both Australia and the United Kingdom. As an art historian his interests are broad, concentrating on the social history of art and specialising in the study of taste and art collecting, both private and institutional. In 1994 he became inaugural Director of the British Museum Development Trust in London, where he was closely involved in planning, and funding, the rebuild of the British Museum with Norman Foster’s Great Court at its centre. He returned to Melbourne in 1999 to become Director of the National Gallery of Victoria with a brief to oversee the gallery’s complete redevelopment, also undertaking new programs for major exhibitions and collection development.
After stepping down from the National Gallery of Victoria in 2012, Dr Vaughan returned to academia for two years as the Gerry Higgins Professorial Fellow at the Australian Institute of Art History at the University of Melbourne.
Olav Velthuis
Olav Velthuis is Professor at the Department of Sociology of the University of Amsterdam, specializing in economic sociology, sociology of the arts and cultural sociology. He currently serves as Head of the department. His research interests include the globalization of art markets, the interrelations between market and gift exchange, private art museums, the valuation and pricing of contemporary art, and the moral and socio-technological dimensions of markets for adult content. In a cross-comparative fashion, he has studied the emergence and development of art markets in the BRIC-countries (Brazil, Russia, India and China). The project was financed by a VIDI-grant from the Dutch Science Foundation (NWO). Before moving to the Universiity of Amsterdam, Velthuis worked for several years as a Staff Reporter Globalization for the Dutch daily de Volkskrant. Also, he worked as an Assistant Professor at the University of Konstanz and as a Post-Doc researcher at Columbia University.
Velthuis is the author of Talking Prices. Symbolic Meanings of Prices on the Market for Contemporary Art (Princeton University Press, 2005), which received the Viviana Zelizer Distinguished Book Award of the American Sociological Association for the best book in economic sociology (2006). He is also the author of Imaginary Economics (NAi Publishers, 2005), which was translated into Dutch and Italian. Together with Maria Lind of Tensta Konsthall (Stockholm), he edited the book Contemporary Art and Its Commercial Markets A Report on Current Conditions and Future Scenarios (Sternberg Press, 2012) and with Stefano Baia Curioni the book Cosmopolitan Canvases. The Globalization of Markets for Contemporary Art (Oxford University Press, 2015). He is president of The International Art Market Studies Association (www.artmarketstudies.org) and was previously a board member of the Netherlands Foundation for Visual Arts, Design and Architecture (Fonds BKVB), which was the main government-sponsored foundation for visual artists in the Netherlands.
Ana Filipa Vrdoljak
Ana Filipa Vrdoljak is UNESCO Chair on International Law and Cultural Heritage and Professor of Law at the University of Technology Sydney. She is Pacific Correspondent to UNIDROIT Rome. She is President of the International Cultural Property Society (US). She is author of International Law, Museums and the Return of Cultural Objects (Cambridge University Press, 1e 2006, 2e forthcoming); and editor of The 1970 UNESCO and 1995 UNIDROIT Conventions: A Commentary (Oxford University Press, forthcoming 2023) with A Jakubowski and A Chechi.
Georgina S. Walker
Georgina S. Walker (PhD) is Lecturer in Art History and Curatorship at The University of Melbourne. She has developed a significant academic profile in the emerging field of private art museums and cultural philanthropy at the University of Melbourne, Australia and internationally with an innovative specialisation in private and public museums, historical and contemporary museology, curatorial and art market studies. Her monograph The Private Collector’s Museum: Public Good Versus Private Gain (Routledge 2019) is the first study to connect the rising popularity of private museums with new models of philanthropy, collecting and complex inter-relationships between private and public museums. Walker has two books under contract with the Routledge Research in Museum Studies series that will examine the emergence of the private museum in parts of Asia and the Arabian Peninsula. Other publications include the co-authored bibliographic resource for Oxford Bibliographies in Art History, “Museums in Australia”, Oxford University Press, 2019 and an article with The International Journal of the Inclusive Museum, “A Twenty-First Century Wunderkammer: Museum of Old and New Art (MONA) Hobart, Tasmania, Australia” (2016).
Xiang Wang
Xiang Wang is a Ph.D. candidate in Art Market Studies at the Central Academy of Fine Arts (CAFA) in Beijing, specialized in art market and art collecting in China from the 20th century. Despite being a young researcher, he has several publications in peer-reviewed journals, books, and reports, and he is also the author of the Beijing Gallery Report(2022). In 2021, Xiang Wang founded and currently leads an interdisciplinary platform called the Young Scholar Forum of Art Market Studies. It aims to bring together young researchers and professionals from diverse fields to delve into cutting-edge issues in art market research. The forum employs lectures and discussions to foster an academic community and expand disciplinary boundaries. The interdisciplinary nature of the platform enables the exploration of a broad range of topics associated with the art market.
Dorothee Wimmer
Dorothee Wimmer is director of the Forum Kunst und Markt / Centre for Art Market Studies at Technische Universität Berlin (https://fokum.org) and co-editor of the Journal for Art Market Studies (https://fokum.org/journal-for-art-market-studies/). She studied art history, Romance studies, history, and German studies in Freiburg i. Br., Paris, and Berlin and earned her PhD on the idea of the man in 1960s French art, literature and philosophy at the Freie Universität Berlin (“Das Verschwinden des Ichs”, Reimer 2006). From 2011 to 2017 she chaired the Richard-Schöne-Gesellschaft für Museumsgeschichte e.V. (“Museen im Nationalsozialismus”, ed. with Tanja Baensch and Kristina Kratz-Kessemeier, Böhlau 2016). She has held fellowships at the Centre Allemand d’Histoire de l’Art in Paris and at the Getty Research Institute in Los Angeles; she was part of the DAAD German-French academic exchange program held in cooperation with the Maison des Sciences de l'Homme, and has lectured in Bremen, Berlin (FU and TU Berlin) and Heidelberg. Her research and publications explore the history, theories, and practices of art collecting and the art market as well as the interrelations and dynamics between art, politics, law and economics. dorothee.wimmer@tu-berlin.de
Ashley Lee Wong
Ashley Lee Wong is Assistant Professor of Cultural Studies at The Chinese University of Hong Kong. She is Co-Founder and Artistic Director, MetaObjects, a studio that facilitates digital projects with artists and cultural institutions, and has worked as Head of Programmes of Sedition, an online platform for distributing digital limited editions by contemporary artists based in London, UK. She completed a PhD at the School of Creative Media City University of Hong Kong and an MA in Culture Industry at Goldsmiths University of London. She was a Postdoctoral Fellow at City University of Hong Kong working on the Cosmotechnics/Critical AI research project and is manager of the Research Network for Philosophy and Technology and Technophany journal.
Her research bridges theory and practice to ways of thinking and engaging in contemporary cultural economies for artists and practitioners working with art and technology. Her work has been published in academic journals including DATA browser, Curating Technologies, 2024; Screened Bodies, The Journal of Embodiment, Media Arts, and Technology, Vol 7. Iss. 1, 2022; Visual Culture Studies Journal, 2022; PARSE Journal, University of Gothenburg, 2019; APRJA, Aarhus University, 2018; and Marges, Université Paris 8, 2019; and a book chapter in Collaborative Production in the Creative Industries, University of Westminster Press, 2017. She is currently working on a monograph published by The MIT Press.
Academic profile: https://www2.crs.cuhk.edu.hk/faculty-staff/teaching-faculty/wong-ashley-lee
Moon-seok Yi
Moon-seok Yi is a cultural worker and independent curator based in Seoul. He is interested in exploring how social intermediation between the nation and individuals can be generated within visual culture. Yi writes and curates projects using keywords such as Asia, tradition and modernity, history and counter-memory, administration and market. Since 2019, he has been co-curating the project Against the Dragon Light (ADL) with Eugene Hannah Park. Through ADL, he interacts with socially engaged artists from the Four Asian Dragons: South Korea, Hong Kong, Taiwan, and Singapore. ADL investigates how artists have responded to society under the authoritarian capitalist governments that emerged in (South) East Asia since the 1970s. It explores how "participation" has been interpreted within their reproductions and conducts workshops and publications related to these topics.
Since 2021, Yi has been running the art space ‘Philosopher’s Stone [Mihakgwan]’ in Seoul, together with Seul bi Lee. Yi also participated in exhibitions curated by independent curator Somi Sim, who examines the city from the intersection of architecture and art, including Ring Ring Belt (2018, Donuimun Museum Village) and REAL-Real City (2019, ARKO Art Center), from 2017 to 2019. Since 2020, he has been working at Seoul Mediacity Biennale Team in Seoul Museum of Art. He served as a project manager for the 11th Biennale, One Escape at a Time curated by Yung Ma, and as an assistant curator in the 12th Biennale, THIS TOO, IS A MAP curated by Rachel Rakes.
Chenchen Zhu
Chenchen Zhu is a Cultural Sociology PhD candidate at University of Amsterdam. Research interest: diaspora Chinese artists, globalization of contemporary art world.