“Studying at The Courtauld remains the greatest privilege and opportunity of my life. Across the globe, articulate art historians have been trained not only as top scholars, but also as global citizens, adept at critical thinking, careful observation, and creative problem-solving.”
Kaywin Feldman (MA, 1991)
Director and President, Minneapolis Institute of Arts
“I often reflect on how my Courtauld studies, while academically focused on 19th-century Europe, revealed the roots of the dynamics within which I now actually operate, in the contemporary art world, as a museum director in the 21st century. That, combined with the rare independence The Courtauld grants its MA students, encouraged me to forge a unique professional path.”
Joanne Heyler (MA, 1988)
Founding Director of The Broad Museum, Los Angeles
“My training in the conservation of easel paintings showed me there was a place for a scientist in the art world and opened unforeseen doors for my career, for which I am forever grateful. One night, coming out of the library computer room after working late, I had the good fortune of bumping into Diana, Princess of Wales, as she was touring the Institute with her entourage!”
Narayan Khandekar (MA, 1992) Director of the Straus Center for Conservation and Technical Studies & Senior Conservation Scientist, Harvard Art Museums
“The Courtauld was transformational for my career because it introduced me to leading exponents of a rigorous, fact-based approach to art history that laid the foundation for my own practice. It also introduced me to peers whose nascent passions for architecture and art helped shape and inspire my own. Many of them remain friends and colleagues today.”
Thomas Campbell (MA, 1987; PhD, 1999)
Director & Chief Executive Officer, Fine Arts Museums of San Francisco
“In the art world, an education from The Courtauld is a calling card, which automatically establishes a certain credibility. There are so many distinguished alumni who have made an impact in this field. The Courtauld is the premiere institution for studying art history in Europe and one of the most distinguished places of academic learning that exists. Its setting in Somerset House only adds to its aura.”
Mary Rozell (MA, 1994)
Global Head UBS Art Collection
“I often describe The Courtauld as the greatest gift to art historians. It uses classical training and methodology to unravel the history of the world through visual means, and at the same time instills an intellectual independence, maturity and professionalism in every student that lasts a lifetime.”
RoseLee Goldberg (MA, 1975)
Founding Director and Chief Curator, Performa
Clinical Associate Professor, NYU Steinhardt
