Emily MacDonald-Korth is a professionally-trained art conservator, a specialist in the scientific analysis of art and historic finishes, and Founder of two successful companies that innovate at the intersection of art research and business. An inventive problem-solver and creative data communicator with an energetic focus on the union of art, science, data, preservation, and business, she has nearly 20 years as an art world professional. MacDonald-Korth created Longevity Art Preservation LLC, a laboratory for conservation and forensic analysis of art; she also invented and co-patented, Art Preservation Index®, a rating system for fine art and two complementary products, the APIx Database and the APIx Mobile app, and continues to develop new metrics for art and the art market by turning data into products. In her previous positions, including Project Specialist at the Getty Conservation Institute (Los Angeles), MacDonald-Korth pioneered new technologies for the field while contributing to and leading high-profile projects across the United States, China, and Italy. MacDonald-Korth is the recipient of several prestigious awards, grants, and fellowships; she is widely published, a prolific public-speaker, and has been featured in numerous media outlets such as the BBC, Barron’s/Wall Street Journal, Reuters, The Atlantic, Smithsonian Magazine, The Art Newspaper, Worth Magazine, Miami Herald, NY Observer, Artnet News and more. MacDonald-Korth is graduate of the Winterthur/University of Delaware Program in Art Conservation where she earned a Master of Science degree in Art Conservation, with a specialty in the conservation of paintings; she also holds a Bachelor of Fine Arts degree from Pratt Institute (Brooklyn, NY).
Emily MacDonald-Korth examines historic paint under a stereomicroscope in the Longevity Art Preservation laboratory
MacDonald-Korth carries out pigment analysis on a de Kooning painting using XRF spectroscopy for the BBC television series Fake or Fortune?
MacDonald-Korth works on graphic condition documentation of 12th-century wall paintings under the gaze of a 30-foot polychrome Buddha statue at the Giant Buddha Temple called the Fengguosi in Yixian, China