Miami-Dade has spent three decades — and more than $33 million — building one of the largest and richest art collections in Florida, destined to enhance courthouses, libraries, transit stations, the airport and the seaport. Now many are missing, dying, destroyed or just in general disarry. Romare Bearden’s etching The Train [missing], George Tice’s photograph Petit’s Mobil Station [missing], Robert Rauschenberg’s lithograph Unit (Buffalo) [missing] and the same goes for dozens of other artworks that have gone missing from Miami-Dade’s Art in Public Places program.
â€¢ A county audit of the program is under way to determine, among other things, why dozens of artworks have been lost or stolen.
â€¢ Signature works by seminal artists have deteriorated, with no money and no plans to restore them, while others sit in storage, belying the notion of art in public places.
â€¢ At least 20 works that together cost more than $800,000 have been dropped from the collection inventory because they are either damaged or missing.
â€¢ Program administrators still rely on an inconsistent, incomplete inventory to track and manage the collection. [Read more]
This episode is full of drama and mystery. Is this the middle of the end? Will Duncan and Richard ever work together again? Is the closing to this weekâ€™s show the saddest thing ever on a podcast? Are squid the new deer?
This week Clare Britt from Fraction Workspace returns and discusses La Biennale di Venezia with Duncan and Joanna. Listen closely and you too can be on the cusp of the hot new trends.
Our new Washington D.C. correspondent Katy Chang checks in from the San Diego Comicon. She is the only other JD/MFA weâ€™ve ever met. Itâ€™s like Highlander, eventually she will have to duel Richard to the death. There can be only one.
AND, if that werenâ€™t enough action, Joanna and Terri discuss Douglas Couplandâ€™s book Hey Nostradamus!: A Novel. A high school shooting in Vancouver, I thought our neighbors to the north were pacifists.
The closing is the saddest thing ever on Bad at Sports, weep for Duncan.
As reported on Artnet and referred by Tony Fitzpatrick
HIRST BUYS HIS OWN SKULL. . .
“He only recognizes art with his wallet,â€ Damien Hirst once said of collector Charles Saatchi, â€œhe believes he can affect art values with buying power, and he still believes he can do it.” The quote reverberated ironically as it was announced that Hirst himself was part of the investment group that is purchasing For the Love of God, his $100-million platinum-and-diamond skull, recently on view at the White Cube gallery in London.
Hirstâ€™s involvement in the purchase (as well as the sale) raised immediate questions about the deal, with Bloomberg reporter Linda Sandler suggesting that perhaps â€œHirst hasn’t yet found a final buyer for his most expensive artwork, at a time when hedge fund managers and other art collectors have lost money in the credit markets.â€ Several years ago, when Saatchi sold off his collection of Hirst works, the artist teamed up with his gallery, with much fanfare, to repurchase his own works — a move that no doubt boosted his market value, not unlike when corporations buy back their own stock to raise their share price. [Read more]
This week Clare Britt from Fraction Workspace stops by to give the run down on a couple of the European shows with Duncan and Joanna. Namely Documenta and Munster. She will be back next week To consider Venice.
Also the fine and wacky folks from The Alliance of Pentaphilic Curators show up to encourage Philip von Zweck’s friends to explain why it should have been them while they “roast the bastard” in recognition of the sizable grant he won this year.
The opening and closing songs of this week’s show are there largely to amuse Kaveh Soofi.
If you don’t get it, you don’t, sorry.
An unnamed investment group has agreed to pay $100 million in cash for the final piece of Daimen Hirst’s June 3rd show at London’s White Cube Gallery. The platinum skull, studded with 8,601 diamonds was the final piece and brings the 2 gallery exhibition to a total of 180 million pounds ($362.4 million),
“The sale is expected to close in three to four weeks, when all the paperwork is finished, Frank Dunphy, Hirst’s business manager said. The group of buyers would be required to show the skull for two or three years in museums around the world.”
Usually, buyers operating at the $100 million level would get a discount, private dealer Richard Polsky said.
The buyers probably wouldn’t be “diamond people,” because the skull’s price was so much higher than the value of the diamond content, said London jeweler and art collector Laurence Graff, who looked at the skull when it was on show and didn’t buy it.
“I’m in the diamond business and I would only be interested in diamonds at diamond prices,” Graff said in a telephone interview today.”
The skull’s sale would enrich Hirst, 42, whose fortune has been valued at 130 million pounds by the London-based Sunday Times and who may get 75 percent or more of the proceeds of a sale, according to art professionals.