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đŸ”„ The Dead Artist Market + Michael Childress

Collectors love a tragedy

HEY Y’ALL!

Thanks for all the great feedback on the Russell Young piece I shared last day!

đŸ”„ ICYMI – Catchs from the Last Week:

Today we have a Michael Childress that pulses like a golden algorithm: rare format, no auction noise. Plus, retro shows trigger market spikes and dead artists cash in.

-Today’s Catch-

Michael Childress

Michael Childress, Aurummm, 2021

💭 My 2 Cents: If you’re the type who thinks all geometric abstraction looks like a screensaver from 2002, Aurummm might change your mind. This 2021 piece by Michael Childress is basically what happens when cosmic minimalism meets cold precision—and somehow still feels warm. It's got that golden-circle-on-gradient-vortex thing going on, like a portal to enlightenment or a $4,000 tax write-off, depending on your vibe. I’m not a spiritual guy, but this one hums. And no, it’s not trying too hard, that’s the whole point.

🔑 Key Numbers: Made in 2021, sized at a clean 91.44 x 91.44 cm (aka 36x36 inches for the non-metric folks), Aurummm sits at £4,000 (~$5K USD). Previously held in a Dubai private collection, translation: someone else already saw value here. Childress had a piece smash its auction estimate by 150% in 2023, and he’s fresh off two solo shows in NY and ATL. No flipping frenzy yet, which is
 ideal.

🧠 Why It’s a Smart Pick: Childress isn’t oversaturated, and this piece is peak “Equivalents”-era, his breakout series. The price is still sane, and the work's got that meditative-but-marketable aura. Plus, abstraction’s coming back (finally), and this portal’s still open.

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-In a Minute-

đŸ”„ Words I Like: afterlife-premium, curatorial-steroids, zombie-market

The Dead Artist Market 

There’s a reason the biggest auction spikes lately come from artists who can’t paint another stroke. Dead artists don’t make more work, which makes them the perfect asset. Zero production, 100% legacy leverage.

The formula is simple: take a relatively unknown artist with a good backstory, a small but striking body of work, and preferably a tragic ending. Then add a major gallery, a museum retrospective, and a curator with a god complex.

Boom
prices triple.
Collectors cry.
Everyone else pretends they always saw it coming.

Noah Davis is just the latest case. His painting jumped from $400k to $1.5M after a few institutional pushes. But this isn’t about Noah. It’s about how the machine works.

Noah Davis, Untitled, 2010

Galleries control access. Museums validate taste. Estates keep inventory tight. The combo creates artificial scarcity, and that’s the fuel.

What you’re seeing isn’t nostalgia. It’s business. Every biennial slot or traveling show is a signal to buyers: this artist is now canon. Or at least, canon-adjacent with upside.

If you’re collecting, watch the retrospectives. Especially the ones backed by Zwirner, Hauser, or Gagosian. Ask which works are loans, which are for sale, and who’s advising the estate.

And if you’re sitting on something minor by a dead artist—get curious. Quiet demand always comes before public heat.

Dead artists don’t get second chances. You do.

-Whenever You Are Ready-

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See you soon!

-Alvaro (@theartmarketguy)

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Disclaimer
Not financial advice. Frame&Flame is strictly educational and is not investment advice or a solicitation to buy or sell any assets or to make any financial decisions.