Johannes Nathan, Editor-in-Chief
Johannes Nathan studied art history at NYU (BA) and the Courtauld Institute of Art (MA, PhD). He taught at the University of Berne until 2001 when he became director of his family’s Galerie Nathan in Zurich, now Nathan Fine Art in Zurich and Potsdam. He has taught – particularly Renaissance art history and the history of the art market – at the universities of Berlin (TU), Cologne, Leipzig, Lisbon, New York (NYU) and Zurich. In 2012 he co-founded the Center for Art Market Studies at TU Berlin. He is a founding member and the Chair of the International Art Market Studies Association.
Jonathan Maho, Editor
Jonathan Maho studied art history, curatorial studies, and American visual and cultural history at Rennes II University, Sorbonne Paris Cité University, and HBK Braunschweig. He wrote his PhD dissertation on the reception of Robert Mapplethorpe’s work and has presented his research in France, Germany, and the USA. Since 2013, he has been a regular contributor for encyclopedias published in Germany and abroad. Previous appointments include the Boros Collection and Studio Ai WeiWei.
Sarah Goodrum, Editor 2018-2020
Sarah Goodrum has studied art history at Vanderbilt University and the University of Southern California, where she wrote her dissertation on the development of photographic culture in East Germany. Before joining the AMD project, she taught courses in the history and theory of art, design, and media as a lecturer at the University of Applied Sciences Europe and worked as a freelance writer, editor, researcher, and translator.
Emily Evans, Editor 2014-2018
Emily Evans studied Art History and German at Smith College, the University of Hamburg, and the University of Illinois, where she wrote her dissertation on the journal Soviet Photo. Before joining De Gruyter as Editor of the Art Market Dictionary, she worked at the Museum Ludwig, Cologne, as a curational trainee (wissenschaftliche Volontärin, 2009-11) and on the Manifesta 10 (St. Petersburg, 2014). Her academic interests are the history of photography, the avant-garde of the Weimar Republic and the USSR, and international contemporary art.
After nearly four years at the AMD, Emily Evans left the project for a position at the Berlin Museums. We congratulate her on her appointment and cordially thank her for all she has done for the AMD!
Véronique Chagnon-Burke is Academic Director of Christie’s Education, where she teaches the history of the art market. She holds a PhD from the Graduate Center of the City University of New York. She is also a graduate of the École du Louvre and the Sorbonne in Paris. Her research interests include the Parisian art market in the 19th century around the Rue Laffitte, women artists, patrons and art critics as well as 19th-century French landscape painting.
Kelly Davis is an editor of the Getty Provenance Index where she has worked since 2014. She has been involved primarily with the M. Knoedler & Co. stockbooks database and the forthcoming Linked Data release of the GPI. She graduated from Pratt Institute with a Master's in Art History and in Library Science. Her research interests include 20th century art gallery librarians and metadata standards for the history of collecting.
Chiara Zampetti Egidi studied History of Art at the University of Florence and at the Courtauld Institute of Art. After an MA in arts policy and management at Birkbeck College, she continued her studies at Royal Holloway College, where her research focused on the role of the art dealer.
She worked as a provenance researcher (Art Loss Register), in an Old Master Painting gallery, for private collectors, and taught at the Master in Art Business, Sotheby’s Institute of Art. She wrote on the international art market for leading publications such as The Art Newspaper, Art in America, Il Sole 24 Ore, and Enciclopedia Treccani. She is the author of the book on the modern and contemporary art market Guida al Mercato dell'arte moderna e contemporanea (Skira).
Jeroen Euwe studied history and art policy and -management at Utrecht University, and received his doctorate in economic history from Erasmus University Rotterdam. Since then, he has worked as Postdoc at the Université Libre de Bruxelles and as a Fellow at the German Historical Institute in Washington D.C. on projects related to the art market during times of political or economic crisis. Currently, he is Senior Researcher at the Department of Creative Economy of HKU University of the Arts Utrecht, and Lecturer at Erasmus School of History, Culture and Communication (Erasmus University Rotterdam).
Christian Huemer Head of the Project for the Study of Collecting and Provenance at the Getty Research Institute, Los Angeles, where he has overseen collaborative research projects, such as “London and the Emergence of a European Art Market, c. 1780-1820” and “The Business of Art in the ‘Third Reich’.” Since 2008, he has been responsible for the Getty Provenance Index® Databases. Huemer studied art history at the University of Vienna, the Paris Sorbonne, and the City University of New York, where he submitted the dissertation “Paris-Vienna: Modern Art Markets and the Transmission of Culture, 1873-1937.” He serves as Board Member of The International Art Market Studies Association (TIAMSA), as Review Expert of the Gurlitt Research Project (ZKM Magdeburg), and as Steering Committee Member of the Provenance Research Exchange Program (PREP). He is also Adjunct Professor at the Sotheby’s Institute of Art (Los Angeles) and Editor-in-Chief of the book series “Studies in the History of Collecting & Art Markets” (Brill).
Martin Hartung is a doctoral fellow at ETH Zurich, where he researches the exhibition history of architectural projects on the art market. From January until June, 2016, he was a Visiting Scholar at Columbia University in New York. After his studies of art history, anthropology, and theology at Martin-Luther-University in Halle-Wittenberg (2002-07) he worked as assistant curator at Vitra Design Museum in Weil am Rhein (2009-10), as research assistant at ZKM | Museum for Contemporary Art in Karlsruhe (2010-11), and from 2011 to 2013 as Curatorial Assistant at the Department of Media and Performance Art at the Museum of Modern Art, New York.
Veronika Korbei studied art history in Vienna and Hamburg and has a keen interest in Old Master drawings. In both cities she worked for Sotheby’s. She was archivist of the Ernst H. Gombrich Archive at the Warburg Institute Archive in London, 2008-10. Since then she has been an independent writer and researcher. Recently she joined the board of The International Art Market Studies Association (TIAMSA) as coordinator.
Andrew Marsh is Curator in Practice on BA Culture, Criticism and Curation at Central Saint Martins and Lecturer for MA Culture, Criticism and Curation. In his professional practice he works as an independent critic and curator and as technical director for major contemporary art commissions. He has received funding for his projects from the Arts Council and the Elephant Trust and publishes regularly. He teaches curatorial practice, critical writing, issues surrounding commissioning contemporary art, the art market and managing off-site projects. He also supervises PhD students. Andrew trained first as an artist before completing his Curating MA at Goldsmiths College, London. His research centres around contemporary curatorial practice and theory, collaboration in curating, contemporary art markets, and art criticism.
Steve (Stratis) Pantazis completed his PhD thesis on the work of the Arte Povera artist Jannis Kounellis at the University of Manchester (UK). He is currently working as a Managing Editor at De Gruyter Open in the field of Arts, Music & Architecture and as researcher of the cultural program Off Spring Young Artists in Greece. He has published articles, reviews and interviews in different journals, online magazines and newspapers such as Nka: Journal of Contemporary African Art (USA), Art History (Greece), Art History Supplement (UK), Culture Now (Greece), Flux Magazine (UK), and Avgi (Greece).
Agnès Penot is a 19th-century French art, art market, and provenance specialist based in Los Angeles. She received her PhD from the Université Paris Sorbonne in 2012. Her dissertation focuses on the history of the 19th-century print dealer and art gallery La Maison Goupil. She is the recipient of numerous awards, including Fellowships from the Center for the History of Collecting at the Frick Collection and Art Reference Library, The Francis Haskell Memorial Fund, and the Getty Research Institute.
Marta Pérez Ibáñez studied art history at the Universidad Autónoma de Madrid and she holds a PhD from the Universidad de Granada. She also studied at the Institute of Fine Arts, New York University, and Universitá Italiana per Stranieri, Perugia. She is an art consultant, advisor, and researcher, and specializes in art market management. She lectured at the Art Market Masters Degree and Fine Arts Degree at Universidad Nebrija, Madrid, from 2005 to 2008, and currently lectures in other universities and public and private institutions.
Léa Saint-Raymond is currently writing a PH. D. dissertation about the Parisian auction market from the 1830s through 1939, focusing on the value for modern art, but also for Asian and “primitive” artifacts, compared to the Old Masters market. Alumna of the École normale supérieure, agrégée in economic and social sciences, she received a double training in economies and art history. She is the co-founder of the GeoMAP project – Géographie du marché de l’art parisien –, a digital repertory that maps all the Parisian art dealers between 1815 and 1955.
Ingrid Severin completed her doctorate in art history at the RWTH Aachen and has since worked at the Institute for Advanced Study (Princeton), Berlin Social Science Center (WZB), Max Planck Institute for the History of Science, International Research Center for Cultural Studies (Vienna), Competence Center Virtual Environments at the Fraunhofer IMK, Prussian Cultural Heritage Foundation, and museums in Cologne, Aachen, Düsseldorf, Unna, and Zurich. From 2005 to 2006 she led the ZKM Museum of Contemporary Art. Since then she has worked independently as a scholar, curator, and author. Since 2013 she has also taught at Leuphana Universität Lüneburg and worked as a reviewer for the EU’s executive agency for research (Horizon 2020 and Creative Europe).
Silvia Simoncelli is course leader of the Master in Contemporary Art Markets at NABA Nuova Accademia di Belle Arti, Milano. She lectures regularly at Accademia di Belle Arti di Brera and Leuphana University, Lüneburg. She organized the international conference "Artists' Archives and Estates: Cultural Memory between Law and Market" (Milan 2016, together with Alessandra Donati and Rachele Ferrario), she contributed papers to conferences in Berlin, Milano, Rotterdam and Zurich. She is member of the board of the Forum Italiano per l’Arte Contemporanea and in member of TIAMSA and contributor to ArtEconomy24, Il Sole 24 Ore, Exibart and Alfabeta2.
Thomas Skowronek studied Slavic Studies and History in Marburg, Moscow, and Berlin. From 2004 until 2011 he worked as a research associate at the Institute for Slavic Studies at the Humboldt-Universität zu Berlin. Forthcoming in 2017 is the publication of his PhD thesis, Markgestalten in Sorge. Kunstgalerien und ökonomische Ordnung in Polen und Russland (1985-2007).
Matthew Ryan Smith, PhD, is the Curator of the Glenhyrst Art Gallery of Brant in Brantford, Ontario, Canada. Matthew is also a writer and sessional professor of indigenous art at the University of Toronto, Mississauga. He is the literary editor of First American Art Magazine and sits on the editorial board of the Moving Image Science Research Group at Kiel University, Germany.
Julie Verlaine, Alumna of the École Normale Supérieure, pursued a doctoral thesis on Art Galleries in Paris between 1944 and 1970 at Paris 1 University (2008). As a tenured associate professor at Paris 1 since 2010, she is a member of the Centre d’histoire sociale du XXe siècle. Her current research focuses on a transnational social and cultural history of the art market and heritage. She is in charge of several collective projects which are part of the Research Group on the art market (GREMA) she created in 2014. She is a member of three international research programs: Artl@s (for a spatial and transnational History of Art), Prisme (on art criticism) and Transcultur@ (for a Dictionary of transatlantic cultural History).