The article published on the website of the newspaper “The New York Times” on February 21, 2013 is headlined “Banksy Work, Taken from London Wall, Turns Up in Miami, for Auction”. The article reports at length that “Slave Labor (Bunting Boy),” a 2012 work by the mysterious British graffiti artist Banksy, has vanished from a wall outside a discount store in London, and turned up at an auction house in Miami. In this respect it’s worthwhile mentioning the fact that the town council in Haringey, the north London borough where the Banksy work appeared last May and disappeared last week, say that they want the piece returned.
Speaking of this picture, it is necessary to note that it appeared last year during the celebrations commemorating Queen Elizabeth’s 60 years on the throne and was taken as an acerbic social comment, as most of Banksy’s works are, and has been regarded as a cultural attraction in the Turnpike Lane neighborhood where it stood.
Analyzing the situation, it is necessary to point out that according to Alan Strickland, a member of the Haringey Council, the community feels that this artwork was given to it for free, and that it should be kept in Haringey where it belongs, not sold for a fast buck. However, it’s an open secret that actually the piece may go for quite a few fast bucks: Fine Art Auctions Miami, where the work has turned up, has included it in a Modern, Contemporary and Street Art sale scheduled for Saturday, and is expecting $500,000 to $700,000 for it.
There is also much speculation of how “Slave Labor” made his way to Miami. In resolute terms the author makes it clear that Poundland, the shop where it originally appeared, has said that it was not involved with the work’s removal. Besides, it is necessary to emphasize that the auction house is not saying who is selling it, or how it was obtained.
The article concludes by giving an official response from the Fine Art Auctions Miami that they has done all the necessarily due diligence about the ownership of the work and that’s why they are not able to provide any information by law and contract, about any details of this consignment. Actually, they will be happy to do so only if they receive any proof that the works were removed and acquired illegally. As for me, I think this theft was probably made on commission. So, if this piece is sold it will disappear into a private collection and never is to be heard from again, at least not for generations.
Analyzing the situation, it is necessary to point out that according to Alan Strickland, a member of the Haringey Council, the community feels that this artwork was given to it for free, and that it should be kept in Haringey where it belongs, not sold for a fast buck. However, it’s an open secret that actually the piece may go for quite a few fast bucks: Fine Art Auctions Miami, where the work has turned up, has included it in a Modern, Contemporary and Street Art sale scheduled for Saturday, and is expecting $500,000 to $700,000 for it.
There is also much speculation of how “Slave Labor” made his way to Miami. In resolute terms the author makes it clear that Poundland, the shop where it originally appeared, has said that it was not involved with the work’s removal. Besides, it is necessary to emphasize that the auction house is not saying who is selling it, or how it was obtained.
The article concludes by giving an official response from the Fine Art Auctions Miami that they has done all the necessarily due diligence about the ownership of the work and that’s why they are not able to provide any information by law and contract, about any details of this consignment. Actually, they will be happy to do so only if they receive any proof that the works were removed and acquired illegally. As for me, I think this theft was probably made on commission. So, if this piece is sold it will disappear into a private collection and never is to be heard from again, at least not for generations.
Very good!
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