The ABSTRATIONIST LAYER: Why the Contemporary Art World Is Insufferable, Corrupted by the Super-Rich
Perspective 4 : Art factories steal souls
Art factories steal souls: PERSPECTIVE
Mr. Agustsso points out that much of what you see from a majority of high paid artists employ teams of assistants given the task of creating the work.
He sites Jeff Koons, a very highly successful artist, employs many assistants to complete tasks assigned to them, even at the risk of being fired for not finishing the job. Very little, if any of Mr. Koons's hands personally touch the creative process.
Mr. Agustsso isn't suggesting that artists don't employ others to work with them in some stages in the producing of their artistic works.
But at what degree does the artist's hands stay on the process to start to finish?
Or do they only touch a spec while the rest is being created by those employed?
Just as Mr. Agustsso points to Jeff Koons as his example, the concept of employing workers to "manufacture" art in an increasingly fast past was a process used by Andy Warhol and his "FACTORY." Aside from the prints and paintings, Warhol produced shoes, films, sculptures, and commissioned work in various genres to brand and sell items with his name.
Is this a bad thing to bring others in to facilitate in the process of creating one's works? Many of the expressionists that I've studied, such as Pollack, Rothko, and others, were proponents of being doers of the work, meaning, their hands were a central component to its creation--but they also had individuals who aided them in other efforts.
Employing assistance has benefits — organization of canvases-- stretching of art, obtaining supplies.
Does there exist a certain point where after an artist has obtained a certain degree of success, they can become the creative mind of the work and then dispatch a team to bring it to fruition?
Artists like Jeff Koons have amassed the hype and status that buyers are not going to question what he creates--as long as his stamp of approval is on it.
I do utilize people to assist me in the operational aspects of my work, but I'm of the adage that it's the knowing that the artist's hands were heavily engaged in the making.
Call it instinct, whereas one who creates can get a sense of feeling that the art that artist created should convey and extenuates massages and meaning--an assembly line expresses many hands made, many hands assembled, and then it was approved.
This type of art asks little other than oh, ah, wow, and beautiful--does this mean the less profound, the more it's worth? Judging by Mr. Koons's BALLOON DOG ORANGE success
($58 million), there seems to be much merit in this.
Mr. Agustsso perspective is valid.