Why did you decide to enroll in the Art Business course at Summer Institute?

As a visual artist myself, I’ve always been the one creating in the room. As I expanded my world of the arts through interests like historical interpretation, art management, and curatorial work, I was amazed by the diversity of careers in art business.

After watching Phyllis Kao’s poised performance at Sotheby’s auction house, I was fascinated by her natural ability to captivate the room and enhance the presence of an artwork. Her role at Sotheby’s inspired me, especially because I enjoy public speaking and interpreting historical and artistic works.

I was eager to meet professionals and visit sites relevant to the world of art. After researching the course, I decided to enroll to take my first step into the world of art business in the best city to do so: New York City.

What significance does studying in New York City hold for you, and what was the most interesting thing you learned or experienced during your time there?

New York City is known as one of the world’s leading art capitals, and I experienced this firsthand the moment I stepped onto the subway. Art lined the walls of underground tunnels, and emerging artists seemed to be performing everywhere I went.

On our first day, we visited the High Line, which features various outdoor sculptures and murals created by artists for the High Line Art Program. It was enlightening to see art being experienced by all in such an accessible, outdoor environment.

I also saw firsthand how art and culture are the cornerstones of the city. We explored neighborhoods such as Chelsea and the Lower East Side, which are both hubs for art galleries.

Describe your favorite day of the program. Where did you go and who did you meet?

I still remember visiting the International Studio & Curatorial Program in Bushwick, where dozens of artists were participating in residency programs.

We visited several studios, each featuring artists with distinctive approaches to their practice: Aske Thiberg, whose medium is body movement and dance, and Mette Sterre, who uses silicone to create body suits and 3D environments.

I vividly remember the conversations that we had with each artist. They put a lot of thought into their responses, which were raw and authentic.

Can you share an example of an assignment that you particularly enjoyed?

Our final project was to curate a hypothetical commercial art gallery. The project required us to research artists and commercial spaces, develop an artist checklist, write press releases, and assemble a press kit.

After being inspired by the Lascaux Cave in southwestern France, I curated the works for our gallery around the theme “Beyond Survival.” The caves are home to more than 600 Upper Paleolithic wall paintings and approximately 1,400 engravings created between 15,000 and 17,000 years ago during a period defined by survival.

I wanted to explore the idea of creating art despite immense challenges—whether survival, limited resources, or other obstacles—so I connected the history of the Lascaux Cave to artists who created beyond all odds.

It was fulfilling to present my final project to my peers and instructors, who gave me great feedback.

How did the program help you understand what working in the art world might look like?

Summer Institute gave us the opportunity to speak with professionals, including gallery owners and independent auctioneers, who are actively working in the field.

Through our site visits, I realized they all shared a common principle: the art business is built on trust between artists and commercial art galleries. In fact, some commercial art galleries even have art liaisons to foster their relationships with artists.

The experience helped me understand just how important networking is for gaining insights into the industry.

How did your experience at Summer Institute influence your perspective on your future studies or career path?

Attending Summer Institute influenced my perspective on my future studies by showing me that my career path does not have to be linear. Many of the professionals we met came from diverse backgrounds and disciplines beyond the arts, each bringing a unique set of skills to their work.

We had a guest lecture by a former Sotheby’s auctioneer, who is now an independent auctioneer. She specializes in economics, math, and business and runs her own independent art advisory group that helps emerging artists.

She compared auctioneering to driving a race car, because you need the ability to account for multiple things at once: paying attention to numbers and working quickly while remaining professional and trying to secure the best sale yet.

Do you have any advice for future Summer Institute students?

If you want to work in the art world, take this opportunity to immerse yourself in an environment where the industry comes to life.

Throughout the program, we visited institutions and galleries such as The Frick Collection, MoMA, Hauser & Wirth, and Pace Gallery, giving us the opportunity to see how commercial and non-commercial exhibitions and institutions operate in real time.

Also, be okay with not knowing everything. Come to the program like a sponge, ready to absorb any knowledge shared with you. I never left a guest lecture or site visit without gaining new perspectives and leaving with even more questions to explore.

Lastly, get to know your teachers and what they do—inside and outside of the program. Your instructors are teaching you for a reason, and they are heavily involved in the field.