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His work for brands such as Benetton sparked conversations about issues including the Aids crisis and anorexia
Tag Archives: fashion
BY MARK ANDERSON
The third edition of the Filthy Fox Auction Club (FFAC), held last week at The Old Church in Stoke Newington, London, has once again proven to be a trailblazer in reimagining the art auction experience. With 90% of the artworks sold and the highest average sales to date, the event celebrated not just the art but the thriving connection between emerging artists and a new wave of collectors.
The brainchild of Alexandra Hochgürtel and Paula Parole, FFAC is an artist-run initiative designed to break down the exclusivity of the traditional art world. This year’s auction showcased 33 works from 13 recent graduates of prestigious institutions, including Slade School of Fine Art, Camberwell College of Arts, and City & Guilds of London Art School, as well as Central Saint Martins, Goldsmiths, and the Royal College of Art. True to its mission of supporting artists, FFAC directed 100% of the hammer price to the creators, with the founders taking a modest 30% buyer’s commission to cover costs.
“This year’s event was beyond our expectations,” said Hochgürtel. “From the incredible turnout at The Old Church to the online participation, we’re thrilled by how much excitement and support the auction has generated.”
An Unforgettable Evening at The Old Church
Set in the stunning, atmospheric Old Church, the auction welcomed a sold-out crowd of 200 attendees. The evening began with a captivating performance by the ANGAQQUK collective, immersing the audience in an artistic ambience before the bidding began. The works, which had already been previewed at Sarah Kravitz Gallery in Soho earlier in the week, drew spirited competition from both in-person and online bidders.
The event wasn’t confined to the physical space alone. For the first time, nearly 50% of the bids came through Instagram, where the auction was live-streamed to a global audience. The hybrid format allowed collectors from all over the world to engage in the excitement, though room bidders retained a slight edge thanks to FFAC’s priority rule for offline offers.
“This hybrid model is part of what makes FFAC so unique,” explained Parole. “It democratizes access to contemporary art while maintaining the intimacy and energy of a live event.”
The auction ended with a celebratory afterparty featuring sets by Harold Van Lennep and MARILL (a DJ duo comprising artist Lexia Hachtmann and Louis Hoffmann), turning the evening into a vibrant celebration of creativity and community.
Empowering Emerging Artists
The heart of FFAC lies in its unwavering support for early-career artists. With all starting bids set under £1,000—some as low as £50—the auction makes investing in original art accessible while ensuring meaningful earnings for the creators.
“This experience has been life-changing,” said one participating artist. “Knowing my work resonated with collectors gave me the motivation to keep creating. The proceeds will help me fund my next project.”
The selection process for FFAC ensures a diverse and dynamic range of works, reflecting the bold, innovative spirit of London’s top art schools. In addition to graduates from Slade, Camberwell, and City & Guilds, the auction featured artists from Central Saint Martins, Goldsmiths, and the Royal College of Art, each contributing fresh perspectives to the collection. Participating artists included Lexia Hachtmann, Wei Xiong, and Mariana Sanchez, whose works drew significant attention during the bidding.
Changing the Game for Art Auctions
Hochgürtel and Parole launched FFAC in response to the exclusivity and high costs of the traditional art market. Their mission is simple but transformative: to make contemporary art accessible, affordable, and free of pretension. The results speak for themselves. The Filthy Fox Auction Club has not only built a loyal community of collectors but also provided a vital springboard for emerging artists. By fostering connections between creators and buyers, the auction gives early-career artists the financial and emotional support they need to thrive.
“This is more than an auction,” Hochgürtel remarked. “It’s a movement—a way to show that the art world can be inclusive, vibrant, and human.”
Looking Ahead
With the success of Vol. III, FFAC has firmly established itself as a standout event in London’s cultural calendar. Plans are already underway for the next edition, with the founders eager to bring even more talent to the fore.
For art enthusiasts, collectors, and supporters of emerging talent, FFAC has become an unmissable opportunity to invest in the future of contemporary art. As Parole put it, “This is just the beginning. We’re excited to keep pushing boundaries and celebrating what makes art so essential: its ability to connect people.”
For more information on the Filthy Fox Auction Club and updates on future events, visit:
Filthy Fox Auction Club Instagram
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Sponsored content. Story submitted by CCI communications. The World Art News (WAN) is not liable for the content of this publication. All statements and views expressed herein are opinions only. Act at your own risk. No part of this publication may be reproduced without written permission. © The World Art News
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The fashion writer Derek Guy—perhaps best known for his pithy menswear observations and advice, dolled out via X—talks us through his sartorial favourites, from David Hockney to Njideka Akunyili Crosby
“I recently had a photoshoot of two famous actors in their hotel room, promoting a movie that recently came out. I was supposed to have 30 minutes with them, but they were incredibly rude to my photo assistant and me and ended up leaving after just 3 minutes. I had only managed to get a handful of photos and ended up crying in the hotel bathroom while my assistant helped pack up.”
In Part 2 of our exclusive interview with New York photographer Evelyn Freja, we delve deeper into her journey, exploring the experiences and philosophies that shape her artistic vision. Evelyn opens up about the challenges of working in a highly competitive industry, her approach to capturing genuine moments, and the surprising lessons she’s learned along the way.
Part 1 of Our Exclusive Interview with Evelyn Freja
From memorable photoshoots with high-profile clients to candid insights on navigating rejection, Evelyn shares what it takes to thrive as a full-time artist in one of the world’s most vibrant cities. Her passion, resilience, and authenticity shine through as she reflects on the creative process and the beauty of connecting with her subjects.
How do you continue to grow and develop as a photographer, even after achieving success?
I am surrounded by photographer friends who constantly lift me up and inspire me. I’m also really lucky because my partner of eleven years is a photographer (we met in photo school), and he is a constant source of inspiration and motivation both inside and outside of photography.
Of all the photos you’ve taken, which one is your favorite?
My favorite photographs come not so much from the final product as from the experience. I’ve had shoots where the final photographs weren’t the best, but the time spent with the subject was incredibly joyful. Those experiences translate through to the final photograph.
Can you describe a particularly memorable or challenging shoot and how you handled it?
I recently had a photoshoot of two famous actors in their hotel room, promoting a movie that recently came out. I was supposed to have 30 minutes with them, but they were incredibly rude to my photo assistant and me and ended up leaving after just 3 minutes. I had only managed to get a handful of photos and ended up crying in the hotel bathroom while my assistant helped pack up. It was disheartening, but at the same time, it was a valuable learning experience—not to take things personally or internalize unspoken criticism. At the end of the day, I am so grateful to be able to take photos for a living in New York City.
It takes less than a second to capture a photo, but how much time and effort go into preparing for the perfect shot?
I’ve spent weeks, sometimes months, leading up to shoots, meticulously planning every detail: from lighting to colors to mood to poses. I can obsess over the smallest details, but I’ve also learned that no matter how much planning goes into photoshoots, something will probably almost always go wrong. Photography is as much about planning the shot as it is about staying flexible with any issues that may arise.
What is your philosophy when it comes to capturing the essence of a moment or a subject?
It’s important that I never put too much of myself in my photos. I want the essence of the subject to shine through as the main focal point, but I also understand that having your photo taken isn’t always enjoyable. It’s all about making the subject feel comfortable and at ease while still letting them be the focus.
Is it expensive to pursue photography, and how long did it take you to achieve financial success in this field? What lessons did you learn along the way?
It’s easy to get overly focused on having brand-new equipment, fancy lenses, and expensive lights, but the reality is that photographers don’t need all that. I’ve taken some of my favorite photos on a cheap, beat-up second-hand camera. Photography can be an expensive industry, but when you’re starting out, it’s good to remember that you don’t need high-end equipment to create beautiful art.
Was it difficult to become a full-time photographer, and what risks, challenges, or setbacks have you faced in your career?
The hardest part of being a full-time artist is getting used to rejection and being ignored. It’s natural to want to throw in the towel and quit when you’ve reached out to forty or fifty art directors and editors and only two of them get back to you, but it’s a necessary part of the process. Just keep going, and tune out any negative internal dialogue.
Part 3 is Coming Soon!
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Art Vancouver, Western Canada’s premier contemporary art fair, is returning for its 9th edition from April 24 – 27, 2025, at the iconic Canada Place sails (Vancouver Convention Centre East – Hall B). After a successful 8th edition, the 2025 event promises to bring together art lovers, collectors, curators, and creators from around the world to celebrate contemporary art.
Explore Art from Around the Globe
Art Vancouver 2025 will continue its tradition of featuring a diverse selection of art, showcasing the talents of both local and international exhibitors. The fair offers attendees a unique opportunity to experience innovative works that capture the spirit of the West Coast and international art.
Why You Should Attend
More than just an art exhibition, Art Vancouver brings people together. The event provides a space for attendees to discover fresh ideas, engage with gallerists and artists, and experience the latest trends in contemporary art. With increasing attention and participation each year, the 2025 edition is set to feature expanded programming, offering something exciting for everyone—from art professionals to art enthusiasts.
Event Details
Dates: April 24 – 27, 2025
Location: Canada Place (Vancouver Convention Centre East) – Hall B
Tickets: Early Bird tickets are available until January 6, 2025. Secure your tickets at www.artvancouver.net/visitors-information
Exhibitor Applications: Now open for those interested in showcasing their work. Apply at www.artvancouver.net/why-exhibit
Stay Connected: Follow us on Instagram: @artvancouver, Facebook: @artvancouverofficial, and X (formerly Twitter): @Art_Vancouver.
Save the date for Art Vancouver 2025, April 24 – 27.
About Art Vancouver
Founded by the Vancouver Visual Art Foundation in 2015, Art Vancouver is Western Canada’s leading contemporary art fair. The event attracts a dynamic mix of local and international artists, galleries, and art lovers, creating a vibrant environment that celebrates creativity. Now in its 9th edition, Art Vancouver continues to be a must-attend event for anyone passionate about art.
Mark your calendars for April 24 – 27, 2025, and join us for an inspiring weekend filled with art, creativity, and new discoveries.
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Story submitted by the Vancouver Visual Art Foundation. The World Art News (WAN) is not liable for the content of this publication. All statements and views expressed herein are opinions only. Act at your own risk. No part of this publication may be reproduced without written permission. © The World Art News
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BY Vic Wu | Opinion
Mark Zuckerberg, the co-founder and CEO of Meta, is no stranger to public scrutiny. His latest public endeavor, a statue of his wife Priscilla Chan, has sparked a wave of discussion that transcends mere artistic critique. The 7-foot-tall sculpture, unveiled on Zuckerberg’s Instagram account to his 14.6 million followers, has been met with a mixture of bewilderment and criticism, particularly from within the Asian community. The choice of design and execution has led to concerns that the artwork unintentionally reinforces harmful stereotypes, portraying Chan in a manner that aligns more closely with an alien being than with the classical beauty and reverence traditionally associated with statues of loved ones.
Alienating or Artistic?
The statue in question is striking, though not necessarily for the reasons one might expect. With a greenish-blue complexion and a cold silver, mylar blanket-like, covering that envelops her body, the figure of Priscilla Chan exudes an otherworldly aura. The emotionless expression on her face, coupled with the alien-like aesthetic, has led some to draw parallels between the statue and the caricatures often used to depict Asian individuals as “other” in Western media. This perception is further compounded by the statue’s resemblance to common depictions of extraterrestrial beings, inadvertently aligning with the unfortunate stereotype of Asians as outsiders.
The critique here isn’t solely based on the visual qualities of the statue but rather on the cultural implications that arise from it. In a time when the representation of Asians in media is scrutinized for its accuracy and sensitivity, the statue’s portrayal of Chan as an alien figure is seen by some as tone-deaf, despite any good intentions behind its creation. This concern is amplified by the context of ongoing discussions about the portrayal of Asians in popular culture, where they are frequently depicted as villains or as fundamentally different from the mainstream.
A Nod to Roman Tradition?
”Bringing back the Roman tradition of sculpting your wife,” Mark Zuckerberg wrote on Instagram when unveiling this unusual work of art to the world.
Zuckerberg’s decision to commission a statue of his wife is indeed reminiscent of the practices of wealthy Romans, who often commissioned sculptures to celebrate their wives’ beauty and elevate their status. However, while Roman statues aimed to glorify and idealize the subject, Zuckerberg’s statue diverges sharply from this tradition. Classical Roman sculptures were designed to evoke reverence and admiration, often depicting the subject in a godly or divine manner. In contrast, the statue of Chan, with its alien-like features, evokes confusion and detachment rather than admiration.
This raises an important question: how does this modern interpretation of a classical tradition reflect on its subject? Although Chan responded on Instagram with the comment, “The more of me, the better?” one doesn’t get the sense that she was entirely pleased with the artwork. It’s likely that most women would prefer not to be immortalized in such an “alien” way.
While the statue was undoubtedly intended as a personal gift, its public display invites widespread interpretation and critique. The Washington Post remarked, ‘Daniel Arsham’s statue of Priscilla Chan is bad,‘ while The San Francisco Standard suggested, ‘It’s a safe bet that it won’t be among the top bid items whenever the Chan-Zuckerberg estate hits auction.’ Meanwhile, Business Insider quoted a therapist who called it a ‘red flag.’ This reception suggests that the artistic endeavor may have missed the mark, failing to capture the essence traditionally associated with such statues.
A Missed Opportunity
When a public figure like Zuckerberg shares a personal gift on such a wide platform, it inevitably crosses the boundary from private to public. By sharing the statue with tens of millions, Zuckerberg has opened the door to public discourse, and with it, the responsibility to consider the broader cultural implications of his choices. The Asian community, in particular, may feel alienated by this representation, seeing it as yet another instance of being portrayed as different or other.
This could have been an opportunity for Zuckerberg to commission a work that not only honored his wife but also celebrated her heritage in a meaningful way. Asia boasts a rich tradition of sculpture, with artists capable of creating intricate and awe-inspiring works. A collaboration with a renowned Asian sculptor could have produced a piece that reflected both the beauty and strength of Chan, while also embodying cultural pride and artistic excellence.
For instance, Chinese artist Luo Li Rong creates life-size bronze sculptures of women, drawing inspiration from Renaissance and Baroque techniques. As Bored Panda notes, “Her statues are often captured in motion, with their dresses or garments seemingly fluttering in the breeze around them, and the artist’s meticulous attention to detail ensures that every crease and fold is precisely where it should be.”
There are many artists of Rong’s caliber across Asia who could have turned Priscilla Chan into a beautiful bronze masterpiece, far surpassing Daniel Arsham’s greenish-blue effigy.
A Question of Sensitivity
While Mark Zuckerberg’s statue of Priscilla Chan may have been intended as a personal and meaningful gift, its public unveiling has invited criticism that cannot be ignored. The statue’s alien-like aesthetic, combined with its broader cultural implications, suggests that this was a missed opportunity to create a work of art that truly honors its subject. Instead of celebrating Chan’s identity and heritage, the statue risks perpetuating harmful stereotypes and alienating the very community it might have sought to uplift.
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Hyacinthe Baron, a revered Master Artist known for her remarkable contributions to art and fashion, passed away at the age of 88. With a career spanning decades, Baron inspired countless emerging artists and art lovers with her dedication and talent.
Baron’s journey began as a child prodigy at the age of 9, when she was admitted to adult classes at The Art Students League in New York City. She gained international acclaim with her Motherhood series of paintings in the 1960s and became the first woman artist to open her own gallery on Madison Avenue in 1974.
In the 1980s, she pioneered the hand-painted fashion industry after creating a dress for Jacqueline Kennedy Onassis, leading to collaborations with renowned designers like Oscar de la Renta, Mary McFadden, Diane von Fürstenberg, and Calvin Klein.
Inspired by André Malraux’s concept of the Museum Without Walls, Baron worked with Pratt Institute to establish their School Without Walls program.
Throughout her career, her art was widely collected by public and private institutions, as well as celebrities such as Marilyn Monroe, Jacqueline Onassis, and Martha Raye.
In her later years, Baron wrote novels set in the art world, co-authored the drawing guidebook “Seeking the Silent Stranger,” and was featured in the documentary “House of Hyacinthe.” She found a home at The Studio Door gallery, where she maintained a working studio, connecting with and mentoring local artists.
“Hyacinthe was a true inspiration, both as an artist and a friend,” said Patric Stillman, owner of The Studio Door. “Her collaborations and dedication to art will be remembered and cherished by all who knew her.”
Reflecting on her life’s work, Baron once said, “My life has been a journey and search for the Silent Stranger through values and ideas. Always looking for a way to disregard the pain of reality to immerse myself in beauty. Along the path, I made the discovery that inspiration is not random. I continue to strive in the purest sense, to capture emotions and a sense of power drawn from individual experience when creating.”
Baron described her art as “transmigrational,” a term she coined to express the duality of human nature and the harmony of mind and body. “Who is the woman in my art? She is a symbol. An icon and metaphor of the beauty of the human spirit. Proud, sensual, powerful, controlling the primitive and the wild.”
Hyacinthe Baron is survived by her sons, Chris Baron and Steve Kramer.
For more information about her life and legacy, visit: HyacintheBaron.com
Additionally, the family has established a Go Fund Me to preserve her legacy.
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Story submitted by The Studio Door. The World Art News (WAN) is not liable for the content of this publication. All statements and views expressed herein are opinions only. Act at your own risk. No part of this publication may be reproduced without written permission. © The World Art News
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BY MAGZOID MAGAZINE
Magzoid Magazine returned with a celebration of artistic talent and growth with the Emerging Art Icons Award 2024, followed by last year’s success. The event, powered by Wasaya Investments, took place at 53 Dubai and was hosted by Joe Mohan. The award presentation, which served as a stepping stone to growing the essence of the art scene in the UAE, showcased exceptional talent across various art disciplines.
It underlined the importance of joint ventures, sponsorships, residencies, and charitable endeavors in helping the UAE’s creative economy flourish. Magzoid is a significant player in the industry because, at its foundation, it is committed to building an inclusive, sustainable, creative ecosystem that values innovation, diversity, and important social effects.
“Magzoid has once again showcased through The Emerging Art Icons 2024 Awards that such recognition and upliftment is what the art community thrives on. The moments we witnessed this evening will boost the confidence of everyone present, enabling them to further their pursuit of artistic creativity.
The UAE has set its eyes on being not only an economic haven but also a creative haven for the people who come in search of opportunities here. Events such as these catalyze the artistic growth of individuals.” Khalil Abdulwahid, a member of the Jury Panel & Dubai Culture.
The jury panel, which consisted of critically acclaimed and well-established artists in the UAE and the global art scene, shouldered the responsibility of selecting the most deserving artists and institutions for the awards. These distinguished jurors included Sacha Jafri, Khalil Abdulwahid, Amrita Sethi, and Jyo John Mulloor. Their insightful input ensured a fair and meticulous selection process that upheld the integrity of the awards.
The occasion was honored by the attendance of distinguished consulate generals from Dubai. Other distinguished guests included investors, collectors of art, chairpersons of art and creative bodies, official ministry representatives, and corporates.
The event ceremony was accompanied by performances from acrobats, singers, and dancers. During Emerging Art Icons 2024, a diverse group of artists, including Jamil Boudiab, Tatiana Lamiri Alaoui, Joy Nabil Najm, Aakanksha Kshatriya, and Ajit Gadekar, showcased their talents in immersive galleries. Each artist brought a unique perspective to the exhibition, creating a dynamic and engaging environment that stimulated the senses and sparked meaningful conversations
Magzoid Emerging Art Icons awards covered a wide range of categories, recognizing excellence in various areas. The winners of Magzoid Emerging Art Icons 2024 are:
Best Artist of Determination: Ameera Alzaabi
Best Emerging Artist: Sudheer Balan
Best Art Influencer: Dr. John V. Francis
Best Emerging Art Blog: ArtDayMe
Best Artistic Brand Collaboration: Ati Younesi
Best Artistic Innovation: Fabin Rasheed
Best Digital Art: Clemence Powney
Best Sustainable Art: Kasia Sterriker
Best Abstract Art: Nicole Lilian
Best Calligraphy Artist: Ismail Abdul Rahman
Best Visual Artist: Mohammed Hussein
Best Performance Art: Viktoriia Demi
Best Artistic Social Impact: Abeer Al Edani
Best Emerging Art Gallery: Inloco Gallery
Best Art Curator: Christianna Bonin
Best Public Art: Dr. Khaled Alawadi
Best Contemporary Art: Moosa Al Halyan
Best Art Institution: Jameel Art Center
Best Art Fair: Art Dubai
Best Realism Art: Saggaf Alhashimi
Best Installation Art: Shaikh Maktoum Marwan Hasher Al Maktoum
Best Street Art: Fathima
Best NFT Art: Shaikh Danial
Winners were awarded, acknowledging their outstanding achievements and contributions to the world of art.
“The Event has grown and so has the competition, fantastic turnout, fantastic energy, and a lot of work behind the scenes to assemble the winners in some categories—it hasn’t been simple—strong competition this year, and I would like to congratulate all the names that were submitted,” remarked Sacha Jafri as he addressed the audience.
Year after year, the Magzoid Emerging Art Icons Awards have grown in prominence, becoming the most sought-after and prestigious accolade for emerging artists. With its second edition, the event has garnered increasing attention from art enthusiasts, collectors, and industry professionals alike, cementing its position as a definitive showcase of emerging talent in the region. The Magzoid Emerging Art Icons 2024 Ceremony was a resounding success, made possible by the generous support of its esteemed sponsors and partners like Wasaya Investments, OOKA, Madly, and ARMAF among others.
“Magzoid has stepped up the game by giving artists an opportunity and a stage to be recognized,” remarked an attending artist. “The ceremony was a celebration of the power of art to connect people, inspire change, and create new possibilities. It was a testament to the importance of supporting emerging artists and creative thinkers and added to the value of collaboration and innovation in the art field.”
Magzoid extends its heartfelt gratitude to all sponsors whose generous support has made the Emerging Art Icons Awards 2024 possible:
Associate Partner: Wasaya Investments
Networking Partner: OOKA
Supporting Partners: Armaf, LayerX, Siella Beauty, Madly Bespoke Jeweller, African + Eastern.
Event Partner: Vista Gifts, Dubai’s Best Photography and Videography, Experiential Marketing Products, Spark Media.
Media Partners: Khaleej Times, Daily Hunt, Mid East Information, World Art News, The Brew, MAA Gulf, Dubai Global News, One Arabia.
Magzoid Magazine stands as a vanguard of innovation and creativity in the MENA region, offering a unique blend of art, culture, and lifestyle. Based in the UAE, this luxury publication is dedicated to uncovering and celebrating the rich cultural tapestry and artistic vibrancy of the area.
It delves into inspiring narratives, features in-depth profiles of both renowned and emerging artists and provides exclusive insights into premier events and exhibitions. Beyond our editorial excellence, Magzoid is renowned for orchestrating strategic activations and fostering brand collaborations with artists, crafting bespoke opportunities for meaningful & impactful brand exposure.
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Story submitted by Magzoid Magazine. The World Art News (WAN) is not liable for the content of this publication. All statements and views expressed herein are opinions only. Act at your own risk. No part of this publication may be reproduced without written permission. © The World Art News
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South African singer Tyla’s sandy Balmain dress was a show-stopper—and not just because she had to be carried up the stairs
Welcome to Part 2 of our Exclusive Interview with Professor Megan Heber, MA, MBA. Megan’s journey exemplifies a profound commitment to using the arts as a catalyst for positive change. With 15 years of experience, Megan has become a leading advocate for the arts, currently serving as the Professor of Practice in Arts Management and Nonprofit Leadership at SMU’s Division of Corporate Communication and Public Affairs.
Beyond the classroom, Megan actively engages with the North Texas arts community, contributing her expertise to various committees and organizations such as the City of Dallas Cultural Plan Implementation Steering Committee and the Board of Appointed Trustees of the Dallas Symphony Orchestra.
Megan’s remarkable contributions have not gone unnoticed; she was honored with the Business Council for the Arts Obelisk Award in 2020 and recognized as one of “30 Under 40” alumni by Rowan University. With a diverse background encompassing executive roles and military service, Megan’s journey is a testament to her unwavering dedication to enriching communities through the transformative power of the arts.
Can you talk about the hands-on aspects, fieldwork, and travel involved? What can students expect and how interesting will it be to them?
The MMIAM program is intensely hands-on, offering students opportunities to dive into the practical aspects of arts management through varied fieldwork and travel experiences that are as educational as they are inspiring.
One example of this is a trip to Tuscany where students live in a castle that has been standing for over a thousand years. This experience is not just about soaking in the breathtaking views and historic ambiance; it’s about actively participating in the ongoing efforts to preserve and manage this ancient site. Students live among those who have painstakingly renovated the building, learning firsthand about the complexities involved in maintaining such a historic property while keeping it functional and accessible to the public.
During their stay, the program also takes students to an active Etruscan archaeological site. Here, they collaborate with archaeologists, gaining hands-on experience in excavation and artifact preservation. This fieldwork is incredibly enriching as it ties historical insights to modern-day cultural management and conservation techniques. The students will also live among these archaeologists and share evening ‘salon series’ discussions with them.
From Tuscany, we go immediately to Milan, where the artifacts unearthed from the site we visited are showcased in a museum. This part of the trip allows students to see the end-to-end process of archaeological discovery, from the initial dig to the final display, highlighting the role of arts managers in bringing historical discoveries to a broader audience.
Moreover, while in Tuscany, discussions on sustainability and ecotourism are woven into the curriculum. The castle’s grounds are a prime example of sustainable management, as they produce their own wine, olives, and other produce. This introduces students to sustainable practices within the arts and heritage sectors, emphasizing how environmental stewardship can be integrated with cultural tourism and conservation.
This trip, like many others in the program, is designed to be deeply engaging and intellectually stimulating, ensuring that students not only learn about global arts management but also experience it dynamically and directly. Such experiences are designed to be profoundly interesting and highly relevant, preparing students to handle the challenges and opportunities of arts management in diverse and changing environments
What specific cultural and artistic institutions do students have the opportunity to engage with during their time in the MMIAM program?
During their tenure in the MMIAM program, students have the exceptional opportunity to engage directly with a broad spectrum of prestigious cultural and artistic institutions globally. This includes behind-the-scenes tours as well as meetings with CEOs and executives.
Starting in Dallas, students explore innovative spaces like Meow Wolf, known for its immersive art experiences, and engage with major funders such as the Communities Foundation of Texas and the City of Dallas Office of Arts and Culture. They also experience traditional arts venues like the Dallas Symphony Orchestra, Nasher Sculpture Center, and Heritage Auctions, providing a comprehensive view of both the nonprofit and commercial sides of the arts
In Montréal, our students visit Cirque du Soleil’s creative headquarters, where they tour the facilities and meet key figures such as Daniel Lamarre, the former President and CEO. This offers deep insights into one of the most innovative entertainment companies worldwide. Further interactions include visits to Les Grands Ballets Canadiens and the Montreal Museum of Fine Arts, enriching their understanding of North American arts management.
The program’s European leg includes time at Bocconi University in Milan, where students delve into the Italian arts scene, visiting iconic institutions like La Scala and contemporary ones such as Fondazione Prada. Additional stops in other European cities expose students to a variety of cultural organizations that represent the rich cultural heritage of the continent.
Moreover, the curriculum extends to emerging markets such as India and China, where students explore arts management in different economic contexts, enhancing their global perspective and understanding of international cultural policy. Through these diverse experiences across Dallas, Montréal, Milan, and beyond, MMIAM students not only learn about varied management styles and strategies but also build a network of international contacts that supports their future careers in arts management.
Could you describe the role of the International Advisory Board in shaping the curriculum and overall experience of MMIAM students?
The International Advisory Board plays a crucial role in shaping the MMIAM program by ensuring our curriculum remains at the forefront of global arts management education. With members drawn from esteemed positions within the arts community worldwide, their insights help us integrate current trends and practical challenges into our coursework. They provide strategic guidance on evolving the program to meet emerging needs, such as digital innovation and global cultural policy shifts, ensuring our curriculum is both relevant and forward-looking.
Furthermore, the board enhances the student experience by leveraging their extensive networks to offer unique professional opportunities. This includes facilitating internships, collaborative projects, and guest lectures, which are integral for practical learning and career development. Their involvement ensures that students gain direct exposure to leading practices in arts management and build valuable professional connections that can propel their careers in the arts sector.
How does the MMIAM program foster cross-cultural collaboration among students from diverse backgrounds?
Our program thrives on diversity. We foster an environment where students from various backgrounds collaborate and learn from each other, enriching their educational experience and preparing them for global careers. Living, studying, and traveling together for a year, students are required to adapt to new environments and challenges continuously. This shared journey not only fosters resilience but also deepens mutual understanding.
Each region we visit brings a student closer to home while pushing another out of their comfort zone. Having a peer who understands the local language, cultural practices, and societal norms acts as a bridge, illuminating these differences and similarities for the group. This dynamic ensures that each student, at some point, will play the role of both a learner and a cultural ambassador. The constant exchange of perspectives and experiences is what truly enables our students to become adept at navigating and managing across cultures. Every student, at some point, will find themselves in unfamiliar territory, and it’s here that the richest learning occurs.
Alumni of the MMIAM program have achieved success in various arts management roles worldwide. Can you share some examples of how the program has impacted their careers?
Our alumni are our greatest testament. Their careers span the globe and the arts sector, from managing top-tier arts festivals to leading community-based cultural initiatives. Their success is a direct result of the comprehensive education and diverse experiences they received here. For example, one alumnus now leads a major arts festival in Europe, applying lessons from their international exposure and network formed during the MMIAM program. Another has transformed a local arts organization by implementing innovative management strategies learned during their studies. These stories are not just of career advancement but of profound impact on the communities they serve.
In what ways does the MMIAM program prepare students to address the unique challenges and opportunities in the global arts management industry?
Preparation comes through exposure and engagement. Students face challenges firsthand and learn to navigate complex cultural landscapes. This is done through coursework that reflects the latest industry demands and through immersive experiences in diverse settings. From Dallas’ new arts scene to China’s ancient crafts, our students gain a panoramic view of the arts world. They learn not just to manage, but to lead in ways that respect and leverage cultural differences, driving innovation and change in the global arts sector.
What sets apart an ideal candidate for the MMIAM program, and how do scholarships contribute to attracting such candidates?
An ideal candidate is passionate, curious, and driven by a desire to make a difference in the arts world. Scholarships help us attract these bright minds, ensuring that the best talents can pursue their dreams regardless of their financial situation.
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