Detroit Institute of Arts County Millage Tax Approved ... As a result the museum’s leaders felt they had to ask taxpayers if they would be willing to pay to support its mission.
Though they answered yes, Christine Anagnos, executive director of the Association of Art Museum Directors, said Tuesday night’s vote does not presage broader change. “I think Detroit is a special situation,” she said, referring to the complete withdrawal of government funds. “I don’t think this is a trend.” Photo The institute’s holdings range from ancient Egyptian, Greek and Roman artifacts to contemporary American masterpieces. Detroit Institute of Arts Copes With Threat of Art Selloff. Detroit Institute of Arts Deal Could Save Bankruptcy Auction. In a bankrupt city of well-documented woes like blighted houses, broken streetlights and persistent crime, few issues have galvanized residents like the possibility that the Detroit Institute of Arts could be stripped of its treasures.
That prospect became quite real late last year after Kevyn Orr, Detroit’s emergency manager, hired the auction house Christie’s to appraise the value of 1,741 city-owned paintings, sculptures, silver, furniture and drawings. Their verdict on the collection: it is worth between $421.5 million to $805 million. A 2014 Detroit art retrospective. There's no doubt about it — 2014 was a dynamic year in Detroit art.
Street art was both celebrated and vilified, some galleries closed while others opened, and the city even attracted international attention as entrepreneurs from New York and Berlin eyed its ample abandoned buildings for future arts-related developments. Here's a look back at what we covered: One of the biggest commotions in art this year in Detroit was caused by developments on a story that originally broke more than four years ago, when a Packard Plant wall, apparently painted by the mysterious, internationally renowned street artist known as Banksy, was immediately snatched up by the 555 Gallery.
Detroit Institute of Arts collection worth billions, report says. The permanent collection of the Detroit Institute of Arts could be worth as much as $4.6 billion, according to a new report that also said the museum would see only a fraction of that amount if the city proceeded with its controversial plan to liquidate the prized collection.
A study published Tuesday from the New York art investment firm Artvest Partners estimated that the DIA collection is worth $2.8 billion to $4.6 billion. In reality, the collection would sell for just $1.1 billion to $1.8 billion, it said. Detroit art caught in bankruptcy battle. (CBS News) Detroit, which became the largest city to declare bankruptcy in U.S. history Thursday, is home to one of the most prestigious collections of art in the world.
And one of the options on the table to deal with its crippling debt is for all of that to be sold. But it's not so simple. To Rod Spencer, the Detroit Institute of Arts is priceless. "The DIA is the history of Detroit, that's what it means to me," he said. Spencer has been coming at least once a month for 25 years. Heidelberg Project - Wikipedia. The Heidelberg Project is an outdoor art project in Detroit, Michigan.
Specifically, it is in the McDougall-Hunt neighborhood on the city's east side, just north of the city's historically African-American Black Bottom area. It was created in 1986 by the artist Tyree Guyton, who was assisted by his wife, Karen, and grandfather Sam Mackey ("Grandpa Sam"). The Heidelberg Project is in part a political protest, as Tyree Guyton's childhood neighborhood began to deteriorate after the 1967 riots. Guyton described coming back to Heidelberg Street after serving in the Army; he was astonished to see that the surrounding neighborhood looked as if "a bomb went off". At first, the project consisted of his painting a series of houses on Detroit's Heidelberg Street with bright dots of many colors and attaching salvaged items to the houses.
Demolition and Destruction 9 Artists on Why They Live in Detroit. After 19 years in Brooklyn, Galapagos Art Space is moving to Detroit, where you can still buy a romantically cast-off industrial building for cheap, just like you used to be able to do in the gritty old New York, before it turned into a polished bauble of global capitalism and everyone in the world decided they wanted to live here.
Whether or not you’ll miss Galapagos, cared much for its programming, or ever saw anything there in the first place, its executive director declared to the New York Times that its leaving town was symptomatic of how “a white-hot real estate market is burning through the affordable cultural habitat.” In Detroit — which is just a two-hour flight away — Galapagos could afford to buy up an entire ruin-porn campus of nine buildings in Corktown, and is thinking of expanding it mission to start a Detroit Biennial in 2016. And why not? But hey, things looked pretty bad here in New York in the '70s, too, when it was an “affordable cultural habitat.” Museum of Contemporary Art Detroit - Architecture - Review. Should Detroit Sell Its Art? The fiscal apocalypse that is Detroit has spun off a collateral storm in the art world with a suggestion that salvific funds—an estimate of two billion dollars is much bandied—could be raised by selling treasures of the Detroit Institute of Arts, one of America’s best encyclopedic museums.
Having been asked my opinion as an art-lover—and, incidentally, a citizen, though not of Detroit—I have two answers. Here’s the short one: sell. The long one, which follows, ends in the same place, only garlanded with regrets. What is the worth of a municipal museum? Nora Caplan-Bricker, writing in The New Republic, gauged it this way in June: “Every person should have the chance, not just to see art, but to live down the street from it.” Detroit museum controversy: Censored artist defends his exhibit. By David Walsh 10 December 1999 The following is a statement issued by artist Jef Bourgeau in response to the decision by the Detroit Institute of Arts (DIA) November 19 to close down his exhibit, “Van Gogh's Ear,” three days into its run.
The show, the first of 12 one-week exhibits intended to explore issues in twentieth century art, contained references to various controversies in the art world, including Andres Serrano's “Piss Christ” and Chris Ofili's baby Jesus in a bathtub.