A question of ethics – the market for African and Oceanic art
Fearing a steep decline in the numbers of new collectors and scholars, an increasing taboo on public sales and fewer museum donations, this year’s State of the African Art Market report, published by the independent website ÌMỌ̀ DÁRA suggests: ‘It is critical that the market clarifies the ethics of collecting classic art if it is to maintain and grow the collector base.’
African art: Pigozzi, Zinsou, Hiridjee… In the small world of great collectors
Who are these great fortunes of the continent and elsewhere who are passionate about African art? What do they acquire and at what price? Which works do they prefer? Who are these insatiable collectors? How much does this passion cost them? In a survey conducted between December 2021 and January 2022 of more than 200 collectors, the London-based platform ÌMỌ̀ DÁRA, responsible for connecting collectors of African art with dealers and researchers, lifted part of the veil. In Voice of the Collector, the organization delivers figures and trends with rare precision in this environment.
Adenike Cosgrove – an interview with the woman behind ÌMỌ̀ DÁRA
One of the rising stars of the online African art community is Adenike Cosgrove, whose website ÌMỌ̀ DÁRA has quickly become one of the most inspiring online resources for a frequent fix of interesting African art-related stories and content. As Cosgrove has been featuring more and more interviews on her site, while herself discretely staying out of the limelight, I thought it would be interesting to change the roles for once and interview the interviewer.
Connecting African art collectors with dealers and scholars, based on a foundation of knowledge about the origin, use & distinguishing features of listed pieces
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