Art Investment Market Genociding Artists
David Hockney’s Landscape ‘Nichols Canyon’ Could Fetch $35 Million
https://www.barrons.com/articles/david-hockneys-landscape-nichols-canyon-could-fetch-35-million-01603745787?mod=hp_minor_pos25
Rather unfortunate for the deprived public that Covid has not broken the back of the far over-priced art investment market. The obscene prices are so far removed from aesthetics of actual works it is appealing to designate as Ponzi schemes the runaway hustlings, adoring critiques, solo artist blow-outs, corporate-grade assessments, paddle-waving auctions and grotesque peddlings of select daubs and chiselings of a few obsessively promoted brands heading for a crashing to swampy terra firma.
Few of the over-vaunted and over-valued works are available to gaping ordinary citizens condemned to see postage-stamp sized reproductions in mags, rags and online, even worse now that access to museums is by dumb-downing reservation and odious queues, with social distancing dispersing viewers before any durable exposure can be completed. No masks, no entry, no billionaire-penthouse art generous tax write-off.
Except for liberating grafitti the art veneration market is genociding art and thereby its creators, especially those without PR resources to generate procurist dangles in media by monetized red-lighted critics, come hither advertisements and sexual predator scandals. Even outsider art is infected with the conceit of great wealth as standard of quality urged on by curators who bed down with agents of influence hired by oligarchs to unearth new means to avoid taxation with pneumatic valuations.
Forgers applaud Ponzi display of copies of originals locked in gold vaults.