Everything about Quality
以質為本


ART.ZIP: How many applicants do you get to meet normally?

NC: I interview a lot, more and more in Asia. We try to keep the numbers in line with the upper limits to hold handling sessions at museums. This course is flexible; we could hire additional staff to accommodate the number of students to maintain small class sizes. The students here flourish in this environment and get to know one another very well. They become a tight network after they graduate.

ART.ZIP: What does the programme offer them?

NC: Christie’s is the biggest art business in the world, and we manage their expectations. Not every one of them could get a job at the Christie’s, but we do offer professional development sessions and networking possibilities, as part of the degree in We make them meet people in different fields involved in the Chinese art world: experts, curators, academics, journalists, people who work in foundations, insurance, art law, corporate collections, and the collectors themselves, too. They get a sense of not just the art history, but also how the Chinese art world works right now. And hopefully we empower them to gain the confidence to go out and look for jobs. We also offer the Christie’s Education students opportunities for work experience at Christie’s and to meet the relevant specialists at the Christie’s. They also can apply for a the Christie’s Education Hong Kong internship, open to all the students in the Arts of China, Arts of Europe, Art Style and Design, and Modern and Contemporary options at Christie’s. The competition can be intense, and the students work really hard to prove their mettle.

ART.ZIP: 你通常要面試多少個申請人呢?

NC: 我面試很多申請人,現在亞洲的申請人越來越多。因為我們採用小班的授課模式,所以我們都會把最後的學生數量控制在一個合理的數量,讓大家可以在博物館進行小型授課和學習。這個課程彈性很大,如果學生人數較多,我們可以抽調額外的教員來確保高質量的小班教學,這樣能夠保證學生之間有足夠的交流和溝通,他們在畢業以後也能保持緊密聯繫,形成自己的關係網。

ART.ZIP: 課程為學生提供怎麼樣的體驗呢?

NC: 佳士得是世界上首屈一指的藝術商業機構,我們幫助學生達成他們的期望。不是所有人都能在佳士得獲得工作崗位,但是我們提供專業的培訓和關係網絡,讓學生能夠面對面地和中國藝術圈內人士交流,各個領域的專家、策展人、學者、媒體人員、基金會人士、保險從業者、藝術法律顧問、企業和私人藏家等。所以他們學到的不僅僅是藝術史,同時也了解現今中國藝術圈是怎樣運作的。我們希望能夠給他們足夠的信心去找工作,因為他們在佳士得已經有了與各類專家見面和合作的經驗。另外,他們還能申請在香港佳士得美術學院的實習機會,這是對所有佳士得美術學院學生開放的,包括中國藝術、歐洲藝術、藝術風格與設計、現代及當代藝術等課程的學生。這個實習機會很難得,競爭也很激烈,所以學生們都需要竭盡全力去爭取。

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ART.ZIP: Where do the students go normally after the course?

NC: This is my seventh year of teaching this course. We’ve had ten to twelve students per year, 40% of whom have worked at Christie’s in London (South Kensington and King Street), New York, Hong Kong, Shanghai and Beijing. As we’ve trained them here at Christie’s Education, they know what Christie’s demands from its employees. So they know the standard and work towards it. We have one or two students each year who wish to go on to do a PhD, and we support them and provide advice on undertaking further advanced research in Chinese art. Some of the students, to be honest, don’t need to work ever. But I’d say the majority actually do end up working. Through the programme they all learn transferable skills, because the assignments accord with actual working the art world. For example, students write critical reviews, so if they are considering a career in journalism, they understand the expectations and that type of writing. Among their essays is a standard research paper with footnotes and bibliography, so if they want to pursue an academic or museum career, they know that the standards.

ART.ZIP: 學生畢業後的去向通常是什麼呢?

NC: 今年是我在這裡的第七個年頭。我們每年有十到十二位學生,40%的學生會留在佳士得工作,倫敦、紐約、香港、上海和北京分部都有。因為他們在佳士得美術學院受過專業訓練,所以他們知道佳士得需要什麼樣的人,他們朝著標準努力就是了。每年有一到兩位學生會選擇繼續修讀博士學位,我們會給予他們全面的支持,為他們進一步研究中國藝術提出建議。還有某些學生其實一輩子都不需要工作,但大多數都是會去工作的。學生們在課程裡學到的東西都能活學活用,因為課程作業都是根據當今藝術界的實際情況來佈置的。例如,學生們需要寫評論,如果他們想要從事新聞媒體行業的,他們會懂得媒體的需求和挑選適當的寫作形式。又譬如說,他們的研究論文都是嚴格符合學術標準的,註腳和參考文獻各項都不允許有差錯,如果他們想要往學術方向或博物館方向發展,他們都知道這種學術標準是什麼。


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