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Welcome back to the Art Business Podcast. In this episode host and guest Mazdak Sanii, founder and CEO of Avant Arte, discuss the decade-long journey of building a major contemporary art platform that has generated over $150 million in revenue and engaged more than 4 million collectors worldwide. Mazdak explains how his early M&A training at Rothschild shaped his leadership and soft skills, and how mentorship and recruiting the right people have been critical to scaling the business. Topics covered include Avant Arte’s operational response to the 2022 market downturn, the company’s time-limited edition model, pricing strategy, and the decision to acquire Make-Ready, now the world’s largest fine art printing studio, to secure supply-chain quality and deepen relationships with artists. Mazdak also discusses how Avant Arte funds projects, works with artists and galleries on pricing and edition sizing, and fosters long-term artist partnerships. The conversation explores Mazdak’s role as a trustee of the National Portrait Gallery, advising on digital and commercial strategies, and how museums can engage younger donors and diversify income streams. He reflects on governance lessons from nonprofit boards, the value of emotional intelligence in leadership, and global opportunities for expanding collector bases in regions like Latin America, Greater China, Japan, and South Korea. Expect practical insights on financing, hiring, operating a creative business at scale, and the intersection of craft, commerce, and cultural stewardship; plus anecdotes about classical music, mentorship, and the philosophy behind building a more accessible collecting ecosystem. Links: https://avantarte.com/ https://makereadyeditions.com/   music ‘Baby, I Miss The Internet’ (Rama, Rama, Rama)  by TOT TAYLOR is used by kind permission of the artist ©Tot Taylor/Songmatic Music (2020)

How should artists price their work, earn royalties and build sustainable creative businesses? In this episode of The Art Business Podcast, David Bellingham talks to artist, author and Artonomics founder Halim Flowers about pricing art, financial literacy, intellectual property and building multiple revenue streams. Halim transformed 22 years of incarceration and self-education into an international creative practice. He discusses his journey from self-publishing and street entrepreneurship to working with galleries, Warner Brothers, institutional collectors and public projects. Topics include: • How artists can price their work and understand their financial value • Budgeting and building multiple revenue streams • Artist resale royalties and intellectual-property protection • Building intergenerational value from creative work • Blockchain and tokenisation • Using AI as a business tool for artists • Measuring cultural value and impact • Community-building and ethical for-profit models • Translating art into education, curriculum and commercial projects Halim also discusses the Artonomics Cultural Capital Index and his approach to using data and technology to demonstrate cultural value and impact. Key takeaways: Treat your creative practice as a business; diversify income; protect your intellectual property; use technology and data intelligently; and build communities that can extend the impact and value of artistic work. Links: https://www.art-o-nomics.com/ https://www.instagram.com/halimflowers/ https://www.halim-flowers.com/ https://www.forbes.com/sites/afdhelaziz/2025/12/05/how-halim-flowers-turns-art-into-weapons-of-mass-construction/ https://www.obama.org/programs/leaders/usa/2025-2026/halim-a-flowers/   music ‘Baby, I Miss The Internet’ (Rama, Rama, Rama)  by TOT TAYLOR is used by kind permission of the artist ©Tot Taylor/Songmatic Music (2020)

David Bellingham interviews Ricardo Gonzales, founder of Art Collector IQ, about building AI tools for the art market. They discuss the origin of the project, the data and technical challenges of cleaning and standardizing auction records, and how AI models (ChatGPT, Claude, Gemini and others) are combined to produce valuations, artist dashboards, weekly market briefs, and provenance checks. The episode covers the suite of tools Ricardo has developed—including Art Collector IQ, ArtCheck, ArtGallery IQ, the Cultural Signal, and an iOS app that scans paintings for on-the-spot valuations—explaining how each tool works and who uses them (collectors, galleries, advisors, and researchers). They also explore legal and ethical considerations like hammer prices vs. buyer’s premiums, gaps in provenance (including Nazi-era concerns), and the need for human judgment alongside AI outputs. Listeners will hear case examples, practical workflow descriptions, and tips for students and professionals on using AI responsibly in art business research and valuation. Links: https://www.artcollectoriq.com/ https://www.instagram.com/artcollector_iq/ https://www.linkedin.com/company/art-collector-iq/posts/?feedView=all   music ‘Baby, I Miss The Internet’ (Rama, Rama, Rama)  by TOT TAYLOR is used by kind permission of the artist ©Tot Taylor/Songmatic Music (2020)

Host Dr David Bellingham, Programme Director of the MA Art Business, Sotheby's Institute of Art, London, speaks with independent London curator and writer Maria Hinel about building a curatorial career outside commercial institutions and the philosophical threads that shape her exhibitions. They discuss her training (UCL, Courtauld), early work at Skarstedt Gallery, and independent projects at spaces including General Assembly, Shtager & Shch and Hypha Studios. The episode covers recurring themes in Hinel's practice: the relations between the human and the non-human; language; identity; gender; temporality; ecology and the agency of animals. They explore how these ideas informed exhibitions such as Drive Your Plow Over the Bones of the Dead, Timescapes, Carbon, Carbon Everywhere and The Middle Voice. Artists referenced include Susan Eyre, Amalia Pica & Rafael Ortega, Francis Alÿs, Jochen Lempert, Anne Marie Maes, Kat Lyons, Claudia Losi and Alina Zamanova. Key points: the dialogic process between curator and artist; staging multi-media shows across project spaces; making invisible forces (cosmic rays, magnetic vision) and animal perspectives visible; ethical and political questions around animal personhood, activism and visibility; and upcoming projects and ambitions, including a broader focus on contemporary Ukrainian art. Official / profile pages Website: mariahinel.com Hypha Studios bio: hyphastudios.com/maria-hinel-2-2/ LinkedIn: linkedin.com/in/4b7b98b9/ Instagram: @mariahinel ArtRabbit curator profile: artrabbit.com/people/maria-hinel/curator Exhibitions (in episode order) Timescapes (Shtager & Shch, 2023) — covered on her FAD Magazine tag page The Middle Voice (Shtager & Shch, 2024) — listed on ArtRabbit Carbon, Carbon Everywhere (Hypha HQ, 2025) — artplugged.co.uk write-up The Pleasure of Misuse (Royal Society of Sculptors, 2025) — her own page or the institution's page Drive Your Plow Over the Bones of the Dead (Hypha Gallery 1, 2026) — artplugged.co.uk write-up   music ‘Baby, I Miss The Internet’ (Rama, Rama, Rama)  by TOT TAYLOR is used by kind permission of the artist ©Tot Taylor/Songmatic Music (2020)

In this episode of The Art Business Podcast, Dr David Bellingham, Programme Director of the MA Art Business at Sotheby's Institute of Art, London, is joined by leading antiquities specialist Dr Judith Nugée. Drawing on more than forty years of experience as a scholar, auctioneer, advisor and valuer, Judith offers a fascinating insight into one of the art market's most complex and compelling sectors. Together they explore how antiquities challenge conventional ideas of value, ownership and authenticity, discussing provenance research, cultural heritage, collecting, ethics and the valuation of national treasures. Far more than a conversation about the ancient world, this episode reveals what the antiquities market can teach us about the wider art business today.   https://hornsbynugee.com/   music ‘Baby, I Miss The Internet’ (Rama, Rama, Rama)  by TOT TAYLOR is used by kind permission of the artist ©Tot Taylor/Songmatic Music (2020)

In this episode David Bellingham interviews Michalina Maria Franasik, an MA Art Business graduate who now works as Communications Manager for the Treasure House Art Fair in London and as creative director of a contemporary art space in Lodz, Poland. They discuss: Michalina’s transition from business studies to the art world; her use of social media and content creation to learn and make connections; and practical career advice for graduates. The conversation covers behind-the-scenes logistics of staging Treasure House at the Royal Hospital Chelsea (24–30 June), the role of art fairs in a digital and sustainability-conscious age, and trends in antiques, decorative arts and small boutique fairs. Michalina also describes her work representing Polish artists and upcoming exhibition projects that bridge Polish and UK audiences. Listeners will hear actionable tips on networking (attending previews, speaking to exhibitors), the value of experience in smaller organisations, and how digital storytelling and consistent, genuine content can open professional doors in the cultural sector.   Links: https://www.treasurehousefair.com/ https://www.linkedin.com/in/michalina-maria-franasik-597849249/  https://www.linkedin.com/company/kantor-sztuki/      music ‘Baby, I Miss The Internet’ (Rama, Rama, Rama)  by TOT TAYLOR is used by kind permission of the artist ©Tot Taylor/Songmatic Music (2020)

In this episode David Bellingham welcomes back alumna Blythe Hogan, Vice President and Senior Director of Art & Collections Practice at Aon Private Risk Management. They explore Blythe’s journey from studying art history to nearly two decades specializing in art insurance, risk management and collection strategy for private collectors and family offices. Topics covered include how fine art insurance works (scheduled vs blanket policies and retail replacement values), common collector misconceptions, valuation and provenance, emergency planning, transit and storage risks, climate and catastrophe considerations, and the role of technology and AI in modern risk assessment. Blythe shares practical examples and anecdotes, discusses the evolving global market and logistics of works on the move, and offers career advice for young professionals interested in interdisciplinary art careers. Listeners will learn what to expect in protecting valuable collections, the importance of proactive risk management and documentation, and how leadership and trusted relationships shape success in this niche field.

Georgina Adam, editor‑at‑large of The Art Newspaper and author of multiple books about decades of change in the global art market, joins the show to discuss the forces reshaping how at is bought, sold and valued today. We explore the shift from antiques to contemporary art, the rise of private museums, and the evolution of auction practices including guarantees, white‑glove sales and pre‑auction arrangements.  We also look at transparency, market opacity, and the growing overlap between art and luxury goods. Key insights include regional market dynamics (China, India and the Middle East); the influence of mega‑galleries and collectors on cultural value; how younger collectors prioritize identity, social media and experiences; and both the concerns and reasons for optimism about the future of the art world.

In this episode of the Art Business Podcast David Bellingham, Programme Director of the MA Art Business, Sotheby's Institute of Art, visits the Wolf Collective, a curatorial platform run from the co-founders’ modernist home in Primrose Hill. Guests Lupe Sanchez, a curator and advisor with experience in blue-chip galleries and deep ties to Japanese craft traditions, and architect/developer Iain Pattie discuss how their domestic space has evolved into an intimate exhibition platform. The current solo presentation by Chicago-based artist Jaclyn Mednicov , whose ceramics, prints and installations reflect long periods of research in Japan, anchors the conversation. Topics covered include: the practical and emotional value of showing art in a lived-in home rather than a white-cube gallery; how architecture and natural light shape viewer experience; programming that blends music and performance with exhibitions; curatorial relationships rooted in long-term support; and the social dynamics of invitation-based shows. Lupe and Iain explain why intimacy, community, and multisensory experiences guide their model, how it complements (and differs from) commercial galleries and fairs, and what the Wolf Collective offers artists and local audiences. Listeners can expect reflections on artistic process, cross-cultural collaboration, the economics and sustainability of private home galleries, and the ways small, intentional spaces can shift values around attention, care and community in the contemporary art world. The Wolf Collective’s exhibitions are open by appointment; the current Jaclyn Mednicov show runs into late summer.   Links:   https://www.madeinbed.co.uk/emerging-artists/imprints-fragments-reliefs-jaclyn-mednicov?rq=jaclyn%20mednicov https://cabanamagazine.com/blogs/atlas-of-craftsmanship/jaclyn-mednicov-multi-disciplinary-artist?_pos=1&_sid=a04cfbf27&_ss=r       music ‘Baby, I Miss The Internet’ (Rama, Rama, Rama)  by TOT TAYLOR is used by kind permission of the artist ©Tot Taylor/Songmatic Music (2020)

In this episode of the Art Business Podcast, host David speaks with Alisa Demchenko, an MA Art Business (Sotheby’s Institute, London) graduand, and Nilanjan Das, a printmaker and PhD artist from Bhubaneswar, NE India, about their optional TAF (The Arts Family) collaboration. They discuss Alisa’s dissertation on AI in art valuation and personalization, and how algorithmic visibility shapes how emerging artists present their work online. The conversation explores Nilanjan’s practice—serigraphy, cyanotype and concrete-board works that investigate public space, plant life, urban beautification and power structures—and how Elisa supported him with portfolio sequencing, narrative framing, artist statements, gallery research and strategic positioning for both UK and Indian contexts. Key takeaways include practical mentorship methods (regular remote meetings, clarity over reinvention), ethical boundaries for art-business professionals, the importance of artist statements and sequencing, and steps for presenting to galleries and curators. The episode closes with next steps, contact handles (LinkedIn for Alisa, Instagram for Nilanjan) and actionable advice for emerging artists and arts professionals.   Links: https://www.linkedin.com/in/alisa-demchenko-bb24ab235/ https://www.instagram.com/nelvsnel/?hl=en https://www.theartsfamily.com/artists/nilanjan-das   music ‘Baby, I Miss The Internet’ (Rama, Rama, Rama)  by TOT TAYLOR is used by kind permission of the artist ©Tot Taylor/Songmatic Music (2020)

Dr. David Bellingham speaks with Shahane Hakobyan, MA Art Business alumna and founder/CEO of ARTanalyst, about her journey from artist to gallery director to tech entrepreneur. They discuss the fragmented nature of art market data, the value of measuring financial, cultural and social indicators, and how ARTanalyst’s AI-driven platform helps galleries connect internal CRM and inventory data with external signals (auctions, press, social) to generate actionable insights, KPIs and meeting prep. They cover lessons from Art Dubai and Galerie Kornfeld, building and testing measurement frameworks, ethical data use and security, and the practical benefits of bringing analytics to the primary market. Shahane shares advice for emerging professionals, challenges of fundraising and adoption, and her vision for a networked, collaborative art ecosystem. Links: Website: https://artanalyst.ai/    Gallery Centric-Demo (where you can try and test some of the features): https://app.artanalyst.ai/assistant    music ‘Baby, I Miss The Internet’ (Rama, Rama, Rama)  by TOT TAYLOR is used by kind permission of the artist ©Tot Taylor/Songmatic Music (2020)

We meet guests Kasia Piszkos (Art Director) and Lukasz Sinitsyn (Gallery Manager) live from Warsaw to discuss the founding of Bliss Gallery earlier in 2025, the meaning behind its name, and its location in a historic fourth‑floor apartment. They outline the gallery’s curatorial focus on abstraction and minimalism and describe standout shows such as Hydrofornia and Material Tendencies, plus their presentation of Urszula Bról at Artissima. The episode covers: practical gallery logistics (including installing water on an upper floor!); Warsaw’s gallery ecology and Warsaw Gallery Weekend; strategies for art fairs (Vienna, Artissima) and growing international ambitions; the role of social media; and plans to revisit overlooked Polish artists and collaborate with foreign curators. Links: https://blissgallery.pl/en/home/ @bliss_warsaw     music ‘Baby, I Miss The Internet’ (Rama, Rama, Rama)  by TOT TAYLOR is used by kind permission of the artist ©Tot Taylor/Songmatic Music (2020)

David Bellingham speaks with Victor Custot and Carmen Hu of Waddington Custot Gallery about continuing a 70-year family legacy, the gallery’s curatorial identity, and their approaches to artist representation and international engagement. They discuss the gallery’s focus on technical excellence, relationships with artist estates (including Peter Blake and Barry Flanagan), and recent contemporary exhibitions such as Qiong Er and textile artist Kenia Almaraz Murillo. The hosts also cover operational choices, including reconfiguring the reception to highlight artworks, and the role of gallery staff and technicians in executing ambitious shows. Victor and Carmen reflect on trends in collector behaviour post-pandemic, the importance of art fairs, online sales dynamics, and generational shifts in collecting. They share advice for MA Art Business students on finding a niche, being curious, and building long-term professional relationships. Listeners are invited to visit the gallery on Cork Street and follow updates at waddingtoncustot.com.   music ‘Baby, I Miss The Internet’ (Rama, Rama, Rama)  by TOT TAYLOR is used by kind permission of the artist ©Tot Taylor/Songmatic Music (2020)

Join host Dr David Bellingham, Programme Director of the MA in Art Business at Sotheby’s Institute of Art London, and guest Dr. Natasha Degen, incoming Director of Sotheby’s Institute of Art New York (January 2026), Chair of Art Market Studies at FIT, and author of The Market and Merchants of Style, for a wide-ranging conversation about the evolving art market and the future of art education. Natasha outlines her academic and professional journey from Princeton to China, the UK and New York, explaining what drew her to study the market side of art and how interdisciplinary training shaped her approach. She reflects on leading the MA in Art Market Studies at FIT, the challenges of curriculum design and the balance between academic rigour and practical vocational training for students seeking careers across galleries, auction houses, museums, fashion and luxury. The episode surveys major market shifts of the last decade: the impact of the 2008 financial crisis, China’s rise and contraction, and the pandemic’s role as an accelerator for digital sales, NFTs and online auctions. Natasha and David discuss globalization’s new phase, the rising cost of doing art business, and how auction houses have diversified into luxury, increasingly relying on luxury sales to offset fine art volatility. They explore the deepening convergence of art and fashion, from Warhol and Paul Poiret to contemporary brand collaborations, and consider how luxury houses and cultural institutions are reshaping value and taste. The conversation also tackles digital platforms, NFTs, and social media as new routes to recognition that have fractured traditional dealer-critic pathways. Natasha shares her vision for Sotheby’s Institute New York: strengthening academic programming, launching new offerings (including an MA in Luxury Business), leveraging ties with the auction house, and cultivating a close-knit, interdisciplinary student community. Ethics, law, sustainability, diversity and repatriation debates are highlighted as central topics that should be re-integrated into art-business curricula. Practical advice for students and early-career professionals focuses on identifying what excites you, playing to your strengths, being open to entrepreneurial paths, and recognizing the breadth of careers available, from studio management and logistics to artist representation and brand partnerships. Natasha concludes with a reading recommendation (Mary Davis’s Paul Poiret: Inventing Modern Luxury) and reflections on the continuing importance of fieldwork and international exposure despite environmental and ethical trade-offs. Expect an informed, candid and interdisciplinary conversation that bridges history, theory and market practice: essential listening for students, curators, collectors and anyone tracking the intersections of art, fashion, luxury and digital innovation.   music ‘Baby, I Miss The Internet’ (Rama, Rama, Rama)  by TOT TAYLOR is used by kind permission of the artist ©Tot Taylor/Songmatic Music (2020)

Welcome to the Art Business Podcast with David Bellingham. In this episode David speaks with Charlotte Stewart, Managing Director of MyArtBroker, about her non‑traditional route into the art world, her decade at Christie’s, and the digital pivot that led her to help build a leading online prints and editions brokerage. Charlotte describes how editorial storytelling and business management skills learned in traditional auction-house roles have shaped her approach to marketing, valuation and running a profitable tech-enabled business. She explains why MyArtBroker focuses on prints and editions, how the platform combines a machine‑learning valuation engine (drawing on data from some 400 auction houses) with specialist human expertise, and why authenticity, condition reports and conservator checks remain central to every sale. The conversation covers MyArtBroker’s business model — private sales, referrals and trade business — and practical differences from galleries and auction houses, including zero percent seller fees and taking a buyer-side margin. Charlotte reflects on how the pandemic accelerated online buying, why Banksy prints were particularly well-suited to digital brokerage, and how the company balanced rapid growth with maintaining trust and authority in the market. Key themes include the interplay of technology and human judgement (Charlotte’s “sandwich” analogy for AI as an assistant, not a replacement), the importance of focused specialism rather than chasing shiny new products, and the role of curated content and data in building credibility. She also discusses collector demographics, the looming wealth transfer from boomers to younger buyers, and predictions for how brokerage, authentication and digital tools may evolve over the next five years. Listeners can expect practical insights for anyone interested in art careers, digital transformation in the art market, and the operational realities of running an online brokerage — from valuation methodology and trust-building to when to use technology and when human specialists must lead the process. Guest: Charlotte Stewart, Managing Director at My Art Broker. Host: David Bellingham, Programme Director, MA Art Business, Sotheby's Institute of Art London. Topics: career paths in the art market; prints and editions brokerage; valuation algorithms and machine learning; pandemic acceleration of online sales; authentication and condition reporting; AI as an assistant; collector behaviour and the future of art brokerage.   Links:  https://www.myartbroker.com/ https://www.linkedin.com/in/charlotte-stewart-775a35a1/?originalSubdomain=uk   music ‘Baby, I Miss The Internet’ (Rama, Rama, Rama)  by TOT TAYLOR is used by kind permission of the artist ©Tot Taylor/Songmatic Music (2020)