As art with high production values has become increasingly common, the role of the artist has evolved into something closer to that of a film director who supervises a large crew of specialists to realize his or her vision. But there's a difference: in filmmaking, each individual ”” from cinematographer to key grip ”” is acknowledged, if only for a few seconds when the final credits roll. In the art business, there are no established conventions for crediting the people who transform artists' ideas into well-made objects. NYT
2 Comments
Of course there are conventions -- the way we acknowledge people is always about conventions. Surprise someone with an award in front of a group of people and they always act like it's the academy awards.
The citation convention in art and design is simple -- you don't ever acknowledge that anyone ever did anything that might have helped, even a little. You want their anger and jealousy – controversy makes you have more appeal to the news rags: free publicity.
Now if you are really trying to ask how do artists and designers and architects start to learn how to collaborate, then you are on to an interesting question.
i know such a person in los angeles. he fabricates, designs, installs for bluechips. we have a lot of fun when he talks about all the bs about artist control and know how.
like somebody known for large scale works on precurious grounds, has a fobia about structural discussions.
all that said, i don't necessarily hold artists to fabricate their work.
for example;
to paint a spectacularly large painting, artist might have to co-ordinate with at least a dozen people. from strechers to sanders to assistants to whatever.
if dan graham was to fabricate his work, there would be no mirrors or glass and he'd be always telling stories behind the microphone while scratching his head.
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