A load of rot?
From Antony Gormley's self-portrait in mouldy bread to the ageing condoms in Tracey Emin's bed, much of modern art has a short shelf life. So what should galleries and collectors do when it starts falling apart? Sarah Jane Checkland reports
I hate moths, just like everyone who has ever worn wool. But when I discovered the other day that they had munched their way through one of Tate Modern's silliest icons, I must admit I sniggered just a little. Evidently, those little critters have more discernment than I had hitherto assumed.
Pieces of art such as Damien Hirst's The Physical Impossibility of Death in the Mind of Someone Living are susceptible to the ravages of time
The work in question was Felt Suit, by Joseph Beuys, created by the artist in 1970 to invoke 'notions of warmth and protection' as the Tate puts it. Now don't get me wrong, Beuys was an important artist. But it is for his thought-provoking performances that he should be remembered, not his products (more at)