After centuries of neglect by the global art establishment, African art is finally becoming big business. This creates the conditions for a perfect storm locally. While the demand for, and value of, African art is rapidly increasing, the South African art market is notoriously under-regulated a.
After centuries of neglect by the global art establishment, African art is finally becoming big business. This creates the conditions for a perfect storm locally. While the demand for, and value of, African art is rapidly increasing, the South African art market is notoriously under-regulated a.
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The attribution and age of some artworks when donated or purchased are simply believed, due to the lack of expertise in art authentication and the cost of sending them to Europe to be authenticated.
With a multi-disciplinary background in fine arts, archaeology, museum studies, and conservation, Isabelle McGinn is a lecturer at the University of Pretoria’s MSoc Sci Tangible Heritage Conservation (since 2019) and BSoc Sci Hons Heritage, Museum and Preservation Studies (since 2015). Isabelle initially trained as a ceramics conservator with the South African Institute for Heritage Science and Conservation in the Eastern Cape and was museum conservator for the UP Museums from 2009-2019. Apart from lecturing, Isabelle continues to offer professional conservation services through the THC programme. Isabelle is currently also a Doctoral candidate with a research focus on the development of the Masters in Conservation at the University of Pretoria. Her goal is to help professionalize conservation practice in South Africa and connect practitioners in South Africa and on the wider continent.