Economics Market United Kingdom

Money talks on market courses

Christie’s Education joins the push to prepare postgraduates for work in the commercial art world

Sotheby’s Institute says 87% of its graduates find work within 12 months

Auction houses are leading the charge to provide pricey postgraduate degrees in art and business to students eager to gain a foothold in the commercial art world.

Christie’s Education, which is owned by the auction house, has announced that it is introducing a London-based, four-term master’s degree (MSc) in art, law and business, which will be accredited by the University of Glasgow. It previously offered only evening courses on the subject. Interviews for places are taking place in London, and will also be held during Art Dubai, Frieze New York and Art Basel Hong Kong.

Sotheby’s Institute of Art (no longer owned by the auction house that licenses its name), which has run master’s courses in art business since 1998, announced in January that it is to launch a three-term art business MA in Los Angeles, in collaboration with the MBA programme at Claremont Graduate University, California. This will have a stronger business administration component than the courses available at the institute’s campuses in London and New York.

Tuition for the Christie’s MSc, which will accept around 12 students, will cost £32,000 ($50,000). The MAs at ­Sotheby’s are similarly priced, although the Claremont course will cost $75,000 and is expected to take more students than Christie’s.

These courses aim to fill a gap in traditional arts education. “The university approach is to train students for academic roles in museums; their courses don’t generally talk about ­money,” says David Levy, the president of Sotheby’s Institute.

Although some ­university courses—such as Maastricht University’s MA in art and heritage: policy, management and education, and the arts policy and management MA at Birkbeck, University of London—do include finance options, there is not enough, some say, to prepare would-be employees of the commercial art world. “Students who come [to the market] with art history degrees often end up working in gallery receptions for years,” Levy says.

Giovanni Gasparini, the director of the Christie’s MSc, says such courses “respond to the [increased] complexities of the art market”, and that the direct relationship between Christie’s and its education institution allows for “closer contact with the business experience”.

James Goodwin, who founded an art market option on the Maastricht University MA and is an independent lecturer at Christie’s Education, says these new programmes are essential because the lack of “conventionally professional” art market employees is indicative of a “weakness” in the market. Consequently, he says, the art market is having to professionalise quickly. “The more professional it is, the more confident investors will be with their money,” he says.

Not everyone, however, agrees with the need for this type of formal education. Nicholas Logsdail, the founder of Lisson Gallery, which represents heavyweights such as Ai Weiwei and Anish Kapoor, learned his trade buying and selling works from markets in his early 20s, while studying art history at London’s Slade School of Fine Art. “Passion for art and discovery was always the driving force” behind his career, he says, “rather than some fancy business plan to control the art market or the careers of artists”, although he admits that the increasingly international market makes “business acumen” essential.

The high fees do deliver results. According to its website, around 87% of those who graduate from Sotheby’s Institute, including those on other degree programmes, find employment in the arts field within a year of graduation.

Virginia Damtsa, who co-founded Riflemaker Gallery in London, was pleased with her MA in contemporary art from Sotheby’s Institute, although she could only attend the course part-time because she had to work to pay her fees. Referring to her wealthier classmates, she says that “either their parents were collectors or they were changing careers from banking and law, so they could afford the fees. We had to pay almost everything in advance.”

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Comments

2 Jul 13
19:57 CET

KIKO, CHINA

Thanks to ERIN MISKELL, your comment is quite useful for me .

4 Apr 13
3:9 CET

SOTHEBY'S ALUM, LONDON

I am sorry to say...I also disagree with the 87% figure indeed. Over half of the students in my class are still suffering from difficulties of getting a job in the field. Some recently closed their galleries..

11 Mar 13
21:17 CET

SOTHEBY'S ALUM, NEW YORK

I graduated from Sotheby's program. Only about half of the students in my class are working in the arts. I disagree with the 87% figure. Honestly, there were several rich kids in the classes that don't work at all. During career week one student even went as far as saying that she would never have to work. The crazy part was the amounts that some students spent at the auctions they were attending for class...

1 Mar 13
21:27 CET

DANIELLE, WASHINGTON

It's all well in good for members of the industry to condemn these programs and say the only way to get a place/ahead in the arts is through experience. In reality, what gallery/auction house/art advisory firm would even hire someone today without these degrees? This day and age, unfortunately, it is more important to get one's education first and then the experience.

1 Mar 13
19:54 CET

ERIN MISKELL, LONDON

I am currently studying on the undergraduate Art Market course at Kingston University. The university also offers a MA in Art Market Appraisal. Just letting people know that there is a cheaper alternative to Sotheby's and Christie's.

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