TIAMSA is proudly served by eleven board members. Let us introduce them to you:
Véronique Chagnon-Burke (Chair): ‘I knew I wanted to be an art historian when a discovered the work of Goya in one if his retrospective in Paris in the 1970s, I was fascinated by the contrast between the horror depicted in Saturn Devouring his Children and the beauty of the Majas in their modern dresses. As I focused my studies, I became intrigued by the system that supported artists, especially the role of the art critics. I worked at the Hôtel Drouot when I was an undergraduate. I had the opportunity to develop different skills than the ones I was acquiring at the Ecole du Louvre and the Sorbonne; I developed my eye and came to understand value in a very different way. I have embraced TIAMSA’s mission since the beginning, we are all protagonists in the art ecosystem, our coming together as an association promotes a more complex vision of the visual arts.’
Kim Oosterlinck (Chair): ‘I was raised in an environment where art was never far away: my mother painted and loved to take me and my sister to museums. So when I was in my third year of studies in management, I decided to study also art history. My major was in prehistory and – with the market for flint being what it is – the art market was not my major preoccupation then. However, when I started my research for my PhD in economics and management on war finance I discovered to my astonishment that French brokers in occupied Paris were complaining about the success of the art market. Now the art world had caught up with me as this discovery triggered my curiosity and my work on art markets, first during wars, and now in a broader setting!’
Natasha Degen: ‘Although I had studied art history and economics at university, I did not fully appreciate the tantalizing connection between these fields until I moved to Beijing in the mid 2000s. There, working as a journalist and critic, I observed the rapid growth of the Chinese art market as it transformed into a global juggernaut. Watching the evolution of museums, galleries, and auction houses in China led me to question the process by which institutional norms emerge and the conditions that shaped their development in other countries and other eras. It was asking (and attempting to answer) such questions that introduced me to the burgeoning discipline of art market studies, where my scholarship has largely focused to this day.’
Alicja Jagielska-Burduk: ‘I believe that TIAMSA provides an essential platform for scholars, practitioners, and policymakers to exchange ideas and perspectives. An interdisciplinary approach to art market studies is necessary to address art market challenges and the role of the art market in cultural property protection. Having been involved in TIAMSA since 2016, I have witnessed firsthand how the association continues to expand and attract new members worldwide. From the beginning, my research has focused on culture-related legal issues, particularly the legal perspective of the art market and cultural heritage law.‘
Philipp A. Nuernberger: ‘Stemming from a family of women artists, I was always interested in the functioning of art markets and decided to make this a focus of my professional work. When I attended TIAMSA’s first conference in 2017 in London, I realized that I had found the perfect forum to follow my interest in a welcoming, interdisciplinary group of scholars and art market professionals. TIAMSA is for me a prime example for the great potential that lies in interdisciplinary work, especially at the forefront of such a comparatively young field of study that benefits enormously from the cooperation between different academic disciplines. I greatly enjoy working with fellow TIAMSA members on organizing conferences, co-authoring presentations and papers, and other projects that offer opportunities for the exchange of knowledge and ideas.’
Iain Robertson: ‘My research interests lie in the integration of tradition into contemporary culture. This approach bears most fruit in the analysis of ancient civilisations. These phenomena are the ones that have best resisted the onset of Modernism. The resilience in fact of cultures and even societies that might not be considered civilisations, to the application of internationalism and latterly globalisation, is remarkable. The approach that I take is largely historic and economic although politics today is a singularly important element. Emerging and Frontier art markets are located, broadly, on top of these great civilisations. It is the proximity of their ancient pasts to contemporary life that draws me to: Persia, Hindustan, China, South America, South East Asian and now parts of Africa; regions that have always been peripheral to Modernism. it is upon the archaic inclinations and syncretic impulses of these societies and polities that I focus my investigations.’
Olav Velthuis (President): ‘When I studied art history and economics at the University of Amsterdam, I was interested in sociological aspects of art and economy respectively. Writing a dissertation about pricing contemporary art was a way for me to unite those interests. While my work has ever since been firmly grounded in sociology, I have always tried to relate to art historical, economic, or other social scientific perspectives on art markets. My goal as a board member is to further stimulate dialogues between art market scholars within these disciplines; I am convinced they have a lot to learn from each other.’
Filip Vermeylen (TIAMSA Groups Officer): ‘Growing up in Antwerp, with its bustling port and rich cultural past, triggered my interest in the interplay between commerce and the arts. I wondered why some cities develop into hubs of artistic innovation and centers of the art trade. As a cultural economist, I soon realized that only a multi-facetted approach can truly help us understand the establishment and functioning of art markets, whether in the past or in emerging economies today. As such, the international mix of (art) historians, sociologists, economists and art professionals is precisely the reason why I am very excited about TIAMSA. As a board member, I will strive to further the dialogue across disciplines in this fascinating field of study.’
Anne-Sophie V.Radermecker: ‘The art markets are inherently transdisciplinary objects of study with significant, yet often overlooked, potential for the human and social sciences. Over the years, my interest has increasingly focused on market segments that typically do not attract public attention due to the lower economic value and presumed lower cultural significance of the traded works and art objects (e.g., anonymous paintings, ordinary antiques, decorative arts, collectibles). These lower-end segments, however, contribute to the richness of the art markets, reflecting diverse cultural consumption modes. They also offer interesting challenges from a methodological perspective. In line with European goals regarding the protection and promotion of cultural heritage, I strongly believe that TIAMSA can serve as a leading platform to highlight the diversity and potential of the art markets in addressing broader societal challenges.’
Adelaide Duarte: ‘Trained as an art historian with a Ph.D. in Museology and Cultural Heritage (Univ. of Coimbra, Portugal), my interest in the art market field grows alongside the study of contemporary art collectors. Currently, I am a researcher at the Institute of Art History at the School of Social Sciences and Humanities (Univ. NOVA de Lisboa), where I serve as IHA deputy director (since 2023), and I coordinate the Postgraduate Program “Art Market and Collecting” (1st edition in 2016). Being a member of TIAMSA and coordinator of the subcommittee ‘Art Market and Collecting: Portugal, Spain, and Brazil’ since 2017, has been key to developing a strong interdisciplinary network and fostering common research interests on the art markets, good practices in the art market, active women in the art markets, collecting practices, and issues around the concepts of the periphery and the global south.’
Georgina S. Walker: ‘I have an innovative specialisation in private and public museums, historical and contemporary museology and curatorial and art market studies. My doctoral dissertation and research interests connect the rising popularity of private museums with new models of philanthropy, collecting and complex interrelationships between private and public museums and private museums and the art market. Hosting the TIAMSA Conference Melbourne 2024 at the University of Melbourne was a great opportunity to expand TIAMSA’s networks within a broader geographic and cultural landscape and I look forward to continuing to build on that work.’
Evolution of the Board: The first TIAMSA Board, comprising eight members, was elected at our first Annual General Meeting (AGM) on 15 July 2016: Chaired by Johannes Nathan it included Susanna Avery-Quash, Lynn Catterson, Frances Fowle, Christian Huemer, Veronika Korbei, Barbara Pezzini (Co-Chair during the first three months, she left the board in October 2016) and Jonathan Woolfson. Four additional officers were elected to the board at our 2nd AGM on 13 July 2017: Kim Oosterlinck, Iain Robertson, Olav Velthuis and Filip Vermeylen. At the 3rd AGM on 29 September 2018, Veronika Korbei was elected as Co-Chair while Nirmalie Mulloli was elected as Coordinator. In August 2020, Nirmalie Mulloli left while Sharon Dowley and Inna Schill became the new TIAMSA Coordinators. At the 7th AGM on 13 September 2022, Veronika Korbei (Co-Chair 2018-2022) and Johannes Nathan (Chair 2016-2018 / Co-Chair 2018-2022) made room for new Co-Chairs, Véronique Chagnon-Burke and Kim Oosterlinck, while Susanna Avery-Quash, Lynn Catterson, Frances Fowle, Christian Huemer and Jonathan Woolfson also left the board – which was in turn joined by Philipp Nürnberger (Finance Officer), Natasha Degen and Alicja Jagielska-Burduk. At the same time, Joe Borges and Masoom Pincha became TIAMSA’s new Coordinators. At the 8th AGM on 13 July 2024 Georgina S. Walker, Adelaide Duarte and Anne-Sophie V. Radermecker were elected as new board members. TIAMSA cordially thanks all previous and current board members for their work on behalf of the association!
You must be logged in to post a comment.