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- đ„ The Dead Artist Market + Michael Childress
đ„ The Dead Artist Market + Michael Childress
Collectors love a tragedy
HEY YâALL!
Thanks for all the great feedback on the Russell Young piece I shared last day!
đ„ ICYMI â 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.
-Todayâs Catch-
Michael Childress
đ My 2 Cents: If youâre 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 precisionâand 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. Iâm not a spiritual guy, but this one hums. And no, itâs not trying too hard, thatâs the whole point.
đ 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 ÂŁ4,000 (~$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 heâs fresh off two solo shows in NY and ATL. No flipping frenzy yet, which is⊠ideal.
đ§ Why Itâs a Smart Pick: Childress isnât oversaturated, and this piece is peak âEquivalentsâ-era, his breakout series. The price is still sane, and the work's got that meditative-but-marketable aura. Plus, abstractionâs coming back (finally), and this portalâs still open.
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-In a Minute-
đ„ Words I Like: afterlife-premium, curatorial-steroids, zombie-market
The Dead Artist Market
Thereâs a reason the biggest auction spikes lately come from artists who canât paint another stroke. Dead artists donât 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.
BoomâŠprices 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 isnât about Noah. Itâs 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 thatâs the fuel.
What youâre seeing isnât nostalgia. Itâs 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 youâre collecting, watch the retrospectives. Especially the ones backed by Zwirner, Hauser, or Gagosian. Ask which works are loans, which are for sale, and whoâs advising the estate.
And if youâre sitting on something minor by a dead artistâget curious. Quiet demand always comes before public heat.
Dead artists donât get second chances. You do.
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-Alvaro (@theartmarketguy)
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