Your TIAMSA Trustees

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.’

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.‘

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 (University of Coimbra, Portugal), I have developed a growing interest in the art market, particularly in relation to contemporary art collectors. I am currently a researcher at the Institute of Art History, School of Social Sciences and Humanities, NOVA University Lisbon, where I served as deputy director of the Institute (2023–2025) and where I coordinate the Postgraduate Program Art Market and Collecting (launched in 2016). Since 2017, I have been a member of TIAMSA and coordinator of the subcommittee Art Market and Collecting: Portugal, Spain, and Brazil, a role that has been key to building a strong interdisciplinary network and fostering shared research interests in art markets, good practices, women’s agency in the art market, collecting practices, and critical debates on the concepts of 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.’

Sandra van Ginhoven: ‘I came to Art History after studying Economics, and was therefore immediately drawn to topics and methodologies where both disciplines met and contributed to each other. In my current role as head of the Getty Provenance Index (GPI) department at the Getty Research Institute in Los Angeles, I oversee the development of the GPI databases and related research projects. Provenance research is intricately connected to art market studies and the history of collecting, and being part of TIAMSA brings great opportunities for collaboration and innovation across disciplinary domains and methodologies. With this in mind, I am also deeply committed to projects and initiatives that help showcase how data-driven research methods and the application of computational tools can contribute to our expanded understanding of the production and circulation of art and our shared cultural heritage.’

Francesco Angelini: ‘I grew up surrounded by artworks: our home’s walls were full of them, and my father often spoke about their value and prices. I began tracing the link between these two concepts early on, first during my Bachelor’s in Business Economics, and later throughout my Master’s and Ph.D., where my dissertation focused on the economics of the art market. Today I teach economics at the University of Bologna and work as a consultant on projects at the intersection of culture, local development, and tourism. My research explores art price formation mechanisms, the interaction among art market agents, and the impact of regulatory frameworks on market dynamics. What fascinates me most is the complexity of how value is constructed and negotiated, especially in cultural domains. I believe this kind of investigation demands an interdisciplinary approach: when dealing with multifaceted phenomena, we need equally multifaceted perspectives. As a board member, I’m committed to supporting and contributing to this interdisciplinary spirit that already defines TIAMSA.’

Larissa Buchholz: ‘Growing up in East Germany, where travel and cultural exchange were restricted, I developed an enduring curiosity about other cultures. After the Berlin Wall fell, that curiosity took me across continents and, eventually, into research on cultural production and art markets in a global context. These formative experiences shaped my recent book,The Global Rules of Art, which examines how artists attain global recognition and how the contemporary art market is being reconfigured through globalization. Trained as a sociologist with an interdisciplinary background in art history, philosophy, and media studies, I view sociology as a lens for understanding the complex realities faced by artists, institutions, and market professionals. My work bridges academic theory and practice, and I’ve advised nonprofit organizations, galleries, and other cultural actors committed to engaging with a wider range of artistic perspectives and backgrounds. As a trustee of TIAMSA, I am passionate about fostering dialogue across disciplines and geographies. I believe that interdisciplinary exchange-between scholars, professionals, and institutions-is essential to understanding today’s art ecosystem and shaping its future in more inclusive and informed ways.’