MA Art Business alumna Jaynelle Hazard is director and chief curator at Georgetown University Art Galleries. Hazard's approach to her work leads with the intention of elevating artists with backgrounds that have been underrepresented in the art world. Read on to learn more about her ethos and what she sees for the future of the contemporary art market.
What motivated you to pursue an MA at Sotheby’s Institute?
I decided to apply to Sotheby’s Institute of Art-New York after spending a few years gaining professional experience following my undergraduate studies at Virginia Commonwealth University. This period was pivotal, allowing me to better understand my long-term career goals, the social and cultural impact I aimed to achieve, and how my skills could serve the arts sector. Sotheby’s Institute stood out to me because of its approach in combining theoretical learning with hands-on experience, offering courses that span art history, arts management, collecting, connoisseurship, art law, and the art market. Since I was already based in New York at the time, the Institute’s location was ideal — not only for convenience but also because it is in one of the world's most significant art hubs, with proximity to prominent museums, galleries, leading arts professionals, and much more.
Looking back, how did the MA Art Business program at Sotheby’s Institute equip you with the tools and knowledge to navigate the art industry?
In the MA Art Business program, I gained experience and knowledge in areas such as market analysis, strategic management in the arts, budgeting, curatorial practices, and relationship building, among other skills. Two key experiences from the program that have stayed with me were writing my thesis, where I discovered a natural acumen and deep interest in experiential aesthetics in the context of conceptual art — a research focus I’ve continued to explore and look forward to further developing at Georgetown University — and my cohort’s visit to São Paulo, Brazil. The Brazil trip included an unforgettable experience at Inhotim, one of Latin America's largest outdoor art museums, renowned for its large-scale installations and sculptures by international and Brazilian artists such as Yayoi Kusama and Olafur Eliasson. It remains one of my favorite art experiences to date.
Tephra Institute of Contemporary Art emphasizes the generation of ideas and growth facilitated by the arts. Can you share why this mission was significant to you and how it guided you throughout your four years as executive director and curator at Tephra Institute?
The mission of Tephra Institute of Contemporary Art deeply resonated with my belief that art acts as a catalyst for dialogue, social change, and meaningful public discourse. During my time as executive director and curator, this mission led our approach to programming and exhibitions. We aimed to amplify the voices of artists with backgrounds that have historically been underrepresented in the visual arts and to facilitate conversations around pressing social and cultural issues, with the hope of inspiring collective growth and engagement among our communities and audiences.
You were recently appointed director and chief curator at Georgetown University Art Galleries. Why did you choose to pursue this role as the next step in your curating career?
The opportunity to lead the galleries at a university renowned for its commitment to intellectual rigor, social justice, and cross-cultural dialogue with a strong global lens was particularly compelling. I have had the pleasure of following the development of Georgetown University Art Galleries over the past several years, which includes the Maria & Alberto de la Cruz Art Gallery and the recently renovated Lucille M. and Richard F.X. Spagnuolo Art Gallery. In just a few short years they have demonstrated how art and dialogue can powerfully address contemporary conversations. They’ve received notable critical acclaim with an impressive exhibition roster that has most recently included solo exhibitions with Glenn Ligon, Kara Walker, Teresita Fernández, and Jeffrey Gibson, who is currently representing the US at the Venice Biennale. These are spaces focused on contemporary art inquiry and exploration where art looks outward and extends across disciplines, throughout the campus, the city, and far beyond. The future of the galleries is incredibly exciting, and I’m so pleased to join the team.
What emerging trends or shifts are you currently observing in the contemporary art market, and how do you think they will impact artists and galleries in the coming years?
I trust that we’ll continue to see a rise in visibility for artists of color and women artists, my hope is that this will be accompanied by more focused scholarship and institutional practices that genuinely support these efforts.
What advice would you give to someone in the early stages of their art business career?
Have informal coffee meetings with colleagues within your team or with individuals outside your organization that inspire you. At this stage in your career, gathering information is invaluable and can significantly influence the next steps in your career. I believe in being a lifelong learner and how that mindset can foster flexibility, openness, and receptivity. You can learn something from everyone.
What advice or tips would you give to Sotheby’s Institute applicants?
Put your best foot forward but try to approach the process with an open mind. Take advantage of the opportunity to connect with peers and professionals, absorb as much knowledge as you can, and allow the program to guide you toward the career path that feels most authentic and impactful towards your aspirations.