While liberal corporations, cities, and states have proven that they are unable to properly maintain themselves, a recent discovery has illustrated that they apparently cannot adequately even run an art exhibit from which a Pablo Picasso series of paintings went missing.
However, considering that it was the Los Angeles Times headquarters from which the piece went missing, the case remains slightly unsurprising given that liberals tend to take what is not theirs.
Within the LA Times headquarters in Los Angeles, California is an art gallery which was formerly highly regarded for housing notable painters’ work. Among such was the famous Pablo Picasso whose work, for decades, was the most popular among the small gallery established in the 1960s and 70s.
The most notable lithograph remained that of one which was composed of five paintings in one illustrating “depictions of famous literary figures, including Shakespeare, done in vibrant brushstrokes.”
This particular piece was responsible for drawing most of the LA Times exhibitors’ visitors, along with 28 of Picasso’s other works.
The corporation had designated specified rooms to notable artists’ works including artists Picasso, Steinberg, and Tamayo, and unsurprisingly, the appropriately titled ‘Picasso Room’ was the most popular.
However, as the years went on, the publisher became less profitable in the 1990s as “the paper was sold from owner to owner.”
Subsequently, the exhibit became less popular and many of Picasso and other artists’ works were removed, generally given to notable employees upon their resignation.
As of 2012, “most of the collection had been sold off” or otherwise dispersed.
Still, some referred to being appointed to the Picasso Room as being an utmost honor, referring to the duty as the ‘Picasso privilege.’
Devastatingly, the individuals overseeing his precious paintings failed to properly protect the artists’ work.
Only until very recently was it determined that Pablo Picasso’s most famous piece at the LA Times had been stolen when a prospective investor arrived to consider the business.
Naturally, Dr. Patrick Soon-Shiong, who was contemplating an offer, wanted to see the location’s most notable rooms, including the Picasso painting series.
However, Soon-Shiong and his team soon discovered that the highly anticipated piece was gone.
Art enthusiasts will be further horrified to learn that the liberal publisher claims that the theft somehow occurred over an inexcusable period of time between 2014 and 2018.
For four years the company did not notice one of the world’s most renounced artists’ work being stolen from their very own headquarters.
The initial concern that arises regarding this currently unsolved mystery, of course, begs as to how such a notable piece managed to have gone missing either without anyone realizing it or otherwise reporting it.
Again, this is, unfortunately, less than surprising coming from a liberal corporation that misplaced a Picasso piece as conveniently as Hillary’s emails were.
Culturally, the LA Times had once considered itself to be a reputable organization that represented the people.
Author Margaret Leslie Davis once described the art exhibit as being a “modern and bold reflective of the new Los Angeles” and that such was not “for the socialites.”
As humble as such may sound, the series of artwork rooms were also said to be “a physical manifestation of the company’s immense power and momentum.”
Also notable is that several of Picasso’s pieces which depict abstract nudity had been previously condemned for such, some of which were later removed for being ‘offensive.’
Throughout the 1960s, former executive Dr. Franklin Murphy and publisher Otis Chandler reportedly sought the goal of embracing the emerging culture’s ‘new sensibility.’
This was said to “show that there [was] a solid sense of good taste and forward thinking,” as explained by University Art Museum at Cal State Long Beach director Kimberli Meyer.
Other politics ensued as the company continued to be bought and sold. Such between 2014 and 2018 was said to be a major factor in Picasso’s work of art being stolen either to negligence or given to a former employee.
Yet the fact remains that the organization could or would not work diligently enough to ensure the protection of possibly its most notable and historic room.
Such negligence fails to uphold the liberal promise to protect local communities’ art and culture, yet is, unfortunately, even more indicative that individuals on behalf of the party have such a mentality or inability.
Still, they continue to seek appointed positions in government, when, again, they cannot even maintain their own belongings.
Picasso’s work, regardless of personal opinion, is arguably notable, and its presence at the LA Times location was once said to be “the center of power in downtown Los Angeles.”