Celebrating Female Agency in the Arts - Christie's Education Symposium

Women in the Art World: The Future is Bright?

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The final panel of the conference addresses the future of women in the art world. Broadly speaking the art world is understood as the totality of global artistic, cultural, social, political and economic infrastructures and relationships, which form the material and intellectual context in which art is being produced, distributed, perceived and valued. 

As the program of the conference presents research on various subjects related to the past and present, the aim of the final panel is to investigate certain phenomena that are relevant for the position of women in the future. We  look at the subject from a wide perspective in order to recognise social, cultural and art-historical tendencies that might influence women’s work as artist, curator, collector, dealer, art critic, audience and who knows? as muse. Each of five participating panelists bring her or his specific approach to the art world, some of them as insiders, others as experts operating outside the territory of the arts. 


Marta Gnyp

Pat Steir
Petra Cortright
Caroline Bourgeois
Selina Ting
Roberta Smith



Course dates

June 26 - 27, 2018

Christie's New York
20 Rockefeller Plaza
New York, NY 10020


Marta Gnyp is a Dutch art historian based in Berlin active as international art advisor, author and art collector specialized in post-war and contemporary art. As both, insider and researcher of the art world she regularly contributes to theoretical investigations in the art field. Her book The Shift. Art and the Rise to Power of Contemporary Collectors based on her PHD research at the University of Amsterdam forms the first systematic academic study on facts and myths of contemporary collecting. The book has been translated into German in 2017. Gnyp observes and analyses various phenomena in the shifting art world having first-hand experiences and direct access to information. Her focus of interest, which she has also discussed during various lectures, has been among other things private museums, morality of the art field and the market of older women artists. Gnyp’s new book You, me and art is scheduled for release in the summer 2018 with Skira Publishers. 


Pat Steir 

Pat Steir, born 1940 in Newark, NJ, works in paint, printmaking and installation art. She is a recipient of the Guggenheim Artist’s Fellowship, the National Endowment for the Arts Individual Artist’s Grant, and is a recipient of a U.S. Medal of Arts.  She received an Honorary Doctorate of Fine Art from Pratt Institute, as well as an Alumni Honoree from both Pratt Institute and Boston University. Rooted in writing and literature, Steir worked as an editor for Semiotext magazine and was a founding board member of both the Printed Matter bookshop, New York and the landmark feminist journal, Heresies.  Her work is included in major public collections around the world, including The Metropolitan Museum of Art; The Museum of Modern Art, NYC; The National Gallery of Art, Washington, D.C.; The San Francisco Museum of Fine Arts; The Solomon R. Guggenheim Museum; The Tate Gallery, London; The MAXXI National Museum of XXI Century Arts in Rome;  and the Whitney Museum of American Art, NY.  As described by Art in America about her work, “This is painting in a grand tradition.” She lives and works in New York.


Petra Cortright

Petra Cortright’s core practice is the creation and distribution of digital and physical images using consumer or corporate softwares. She became renowned for making self-portrait videos that use her computer’s webcam and default effects tools, which she would then upload to YouTube and caption with spam text. Cortright’s paintings on aluminum, linen, paper, or acrylic are created in Photoshop using painting software and appropriated images, icons, and marks. The digital files are endlessly modifiable, but at a “decisive moment” they are translated into two-dimensional objects. They become finite, yet their range of motifs and marks, and their disorienting perspectives and dimensions suggest dynamic change. Cortright lives and works in Los Angeles, CA. She studied Fine Arts at Parsons School of Design, The New School, New York, NY (2008) and the California College of the Arts, San Francisco, CA (2004).

Selected exhibitions include: "Electronic Superhighway,” Whitechapel Gallery, London, UK (2016); The Metabolic Age, MALBA, Buenos Aires, Argentina; "On YouTube. Kunst und Playlists aus 10 Jahren,“ Kunsthaus Langenthal, Switzerland; "Im Inneren der Stadt," Künstlerhaus Bremen, Germany; Ural Industrial Biennial, Ekaterinberg, Russia (2017); “I Was Raised On the Internet,” MCA Chicago (2018); “The Body Electric,” Walker Art Center, Minneapolis (2019); Nahmad Projects, London (solo, 2018); 1301PE, Los Angeles; City Gallery, Wellington, New Zealand (both solo, 2017); Carl Kostyál, London, UK (solo, 2016); Ever Gold Projects, San Francisco (solo, 2018 and 2016); Depart Foundation, Los Angeles (solo, 2015); Foxy Production, New York, NY (solo, 2017 and 2015); Société, Berlin, Germany (solo, 2014 and 2016); Frieze Film, Frieze London, UK; 12th Bienniale de Lyon, France (both 2013); Preteen Gallery, Mexico DF (solo, 2011), and the Venice Bienniale (2009). Her works are in the permanent collections of The Péréz Museum (Miami), Los Angeles County Museum of Art, the Hammer Museum (Los Angeles), Moderna Museet (Stockholm), MOTI (Breda) in collaboration with Stedelijk Museum (Amsterdam), MCA Chicago, Kadist Foundation (San Francisco), BAMPFA (Berkeley, CA), and the San Jose Museum of Art.

Photo credit to Miwah Lee


Caroline Bourgeois 

Born in Switzerland in 1959, Caroline Bourgeois graduated in Psychoanalysis at Paris University in 1984. She was director of the Eric Franck Gallery in Switzerland from 1988 to 1993 and co-director of the Jennifer Flay Gallery from 1995 to 1997.

From 1998 to 2001, she worked on contemporary art installations in tube stations in Paris with a number of artists, including Dominique Gonzalez-Foerster. In 1998 she was appointed to be in charge of the video section of François Pinault’s collection.

In this context she gave the collection broad horizons that enable to trace the history of the moving image through art installations. 

In 2001, with the Pinault Collection, she worked on the production team of Pierre Huyghe’s artworks for the Biennale’s French pavilion. She has also worked on a number of independent projects, among which: the video program ‘Plus qu’une image’ for the first edition of the Nuit Blanche in Paris (2002); the exhibition ‘Survivre à l’Apartheid’ at the Maison Européenne de la Photographie during the Paris photography month on the theme Emergences Résistances Résurgences (2002); the production of the video collection ‘Point of view: an Anthology of the Moving image’, in collaboration with the New Museum of Contemporary Art (2003) and ‘Valie EXPORT – an Overview’, a travelling exhibition co-organised with the Centre National de la Photographie (CNP) of Paris (2003–2004). 

From 2004 to 2008 she was Artistic Director of the Plateau, a contemporary art centre in Paris, where she curated several exhibitions: ‘Ralentir Vite’, ‘Joan Jonas’, ‘Loris Gréaud’, ‘Diaz & Riedweg’, ‘Jean-Michel Sannejouand’, ‘Archipeinture’, ‘En Voyage’, ‘Adel Abdessemed’, ‘Société Anonyme’, ‘Nicole Eisenman’, ‘Dr Curlet reçoit Jos de Gruyter et Harald Thys’, ‘L’Argent’, ‘Cao Fei’, ‘Melik Ohanian’.

She has been curating exhibitions of the Pinault Collection since 2007: ‘Passage du temps’ (2007) at Lille’s Tripostal, ‘Un certain état du monde?’ (2009) at the Garage Center for Contemporary Culture in Moscow, ‘Qui a peur des artistes?’ (2009) in Dinard, ‘À triple tour’ (2013) at the Conciergerie in Paris. She is currently working on the new exhibition ‘Debout!’, to open in Rennes on June 22, 2018.

In Venice she has curated ‘In Praise of Doubt’ (2011-2013), ‘Prima Materia’ (2013–2014) with Michael Govan, ‘Slip of the Tongue’ (2015), in collaboration with Danh Vo, ‘Accrochage’ at Punta della Dogana, and ‘The World Belongs to You’ (2011), ‘Madame Fisscher’ (2012), ‘Voice of Images’ (2012–2013), ‘The Illusion of Light’(2014–2015) and ‘Martial Raysse’ (2015) at Palazzo Grassi. 

In January 2018, she curated the exhibition ‘VALIE EXPORT’ at the Thaddaeus Ropac Gallery in Paris.


Selina Ting is a specialist in contemporary art with over 10 years of professional experiences both in Asia and Europe.

She is currently Director of CoBo, the first Asia's Community platform for collectors that advocates the enrichment of the art ecosystem in Asia. She is also Editor-in-Chief of CoBo Social, an online media outlet focuses on Asian Contemporary Art. 

Before launching CoBo in 2016, Selina was stationed in Paris and Brussels between 2004 – 2014, she has a network traversing the Chinese, Asian and Western art world. She founded initiArt Magazine in 2010 and was Editor-in-Chief of Whitewall China in 2014 - 2015. Selina has published extensively on her research projects as well as on general issues regarding contemporary art and culture.


As a co-chief art critic of The New York Times, Roberta Smith regularly reviews museum exhibitions, art fairs and gallery shows in New York, North America and abroad.

Since joining The Times in 1991, she has written on Western and non-Western art from the prehistoric to the contemporary eras. She sees her main responsibility as “getting people out of the house,” making them curious enough to go see the art she covers, but she also enjoys posting artworks on Instagram and Twitter. Special areas of interest include ceramics textiles, folk and outsider art, design and video art.

She has written critic’s notebooks on the need for museums to be free to the public; Brandeis University’s decision to close its museum and sell its art collection (later rescinded), and the unveiling of the Google Art Project, which allowed online HD views of paintings in the collections of scores of leading museums worldwide.

Born in New York City and raised in Kansas, Ms. Smith is a graduate of Grinnell College in Iowa. Before coming to The Times she wrote for the Village Voice. In 2003 she received the College Art Association’s Frank Jewett Mather Award for Art Criticism.

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