Fuck Art Let's Dance / Fuck Dancing Let's Fuck
Fuck Art Let's Dance / Fuck Dancing Let's Fuck
Signed Print
Harland Miller
£17,000-£25,000
$35,000-$50,000 Value Indicator
$30,000-$45,000 Value Indicator
¥160,000-¥240,000 Value Indicator
€20,000-€30,000 Value Indicator
$180,000-$260,000 Value Indicator
¥3,280,000-¥4,830,000 Value Indicator
$23,000-$35,000 Value Indicator
AAGR (5 years) This estimate blends recent public auction records with our own private sale data and network demand.
There aren't enough data points on this work for a comprehensive result. Please speak to a specialist by making an enquiry.
Medium: Screenprint
Edition size: 50
Year: 2011
Size: H 69cm x W 55cm
Signed: Yes
Format: Signed Print
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Auction Results
| Auction Date | Auction House | Location | Hammer Price | Return to Seller | Buyer Paid |
|---|---|---|---|---|---|
| December 2024 | Tate Ward Auctions | United Kingdom | |||
| September 2024 | Christie's London | United Kingdom | |||
| March 2024 | Christie's London | United Kingdom | |||
| January 2023 | Phillips London | United Kingdom | |||
| March 2022 | Tate Ward Auctions | United Kingdom | |||
| December 2021 | Tate Ward Auctions | United Kingdom | |||
| September 2021 | Forum Auctions London | United Kingdom |
Meaning & Analysis
Fuck Art Let's Dance / Fuck Dancing Let's Fuck is a 2011 diptych of screenprints by Harland Miller. The two panels echo the familiar format of Penguin book covers, with flat blocks of colour and bold typography set against clean backgrounds. The left panel features a bright yellow cover with black text, while the right panel features a fading magenta cover. The titles, blunt and provocative, sit across the centre of the covers in capital letters, combining Miller’s characteristic dry humour with a confrontational edge.
Miller's Diptych, Fuck Art, Let’s Dance, draws on a well-known element of British culture by reusing the iconic Penguin book cover style. Miller adapts this familiar design with sharp, provocative titles that both surprise and entertain. The use of strong language is a deliberate part of his approach - Miller has noted that "people read before they can stop themselves", making the message harder to ignore. Through this blend of nostalgia and confrontation, the work challenges conventional ideas about art and its place in society.
