Artists don't achieve financial success and critical acclaim during their lifetimes as a result of chance or luck. Michael FitzGerald's assiduously researched book documents Picasso's courting of dealers, critics, collectors, and curators as he established his reputation during the first forty years of the twentieth century. FitzGerald describes the care, patience, and resourcefulness invested by Paul Rosenberg, Picasso's dealer and close collaborator from 1918 to 1940, in building the financial value and public acceptance of Picasso's art. The book is based on and quotes generously from previously unpublished correspondence between Picasso and dealers, collectors, and museum curators.
Collaboration in the arts is no longer a conscious choice to make a deliberate artistic statement, but instead a necessity of artistic survival. In today’s hybrid world of virtual mobility, collaboration decentralizes creative strategies, enabling artists to carve new territories and maintain practice-based autonomy in an increasingly commercial and saturated art world. Collaboration now transforms not only artistic practices but also the development of cultural institutions, communities and personal lifestyles. This book explores why collaboration has become so integrated into a greater understanding of creative artistic practice. It draws on an emerging generation of contributors—from the arts, art history, sociology, political science, and philosophy—to engage directly with the diverse and interdisciplinary nature of collaborative practice of the future.
This book complements a national traveling exhibition of Komar and Melamid's interpretation of the "most wanted' and "most unwanted" paintings of fourteen countries titled: The People's Choice, organized and circulated by ICI - Independant Curators International, touring to museums from September 1998 to December 2000.
Most artists work alone, but some find a creative partner and team up for their entire careers. Artistic collaborators often testify that their work done jointly is better than what each person could create on his or her own. They say this collaboration is like marriage in the way that both partners benefit from a commitment to shared goals, excellent communication and trust. Based on studio visits and in-depth interviews, this book reports on more than forty collaborating sculptors, painters, printmakers, photographers, architechs and performers who have worked in tandem with other artists.
"In recent years research into creative labour and cultural work has usually addressed the politics of production in these fields, but the sociotechnical and aesthetic dimensions of collaborative creative work have been somewhat overlooked. This book aims to address this gap. Through case studies that range from TV showrunning to independent publishing, from the film industry to social media platforms such as Tumblr and Wattpad, this collection develops a critical understanding of the integral role collaboration plays in contemporary media and culture. It draws attention to diverse kinds of creative collaboration afforded via the intermediation of digital platforms and networked publics. It considers how these are incorporated into emergent market paradigms and investigates the complicated forms of subjectivity that develop as a consequence. But it also acknowledges historical continuities, not least in terms of the continued exploitation of 'support personnel' and of resulting artistic conflicts but also of alternative models that resist the precarious nature of contemporary cultural work. Finally, this volume attempts to situate creative collaboration in broader social and economic contexts, where the experience and outcomes of such work have proved more problematic than the rich potential of their promise would lead us to expect
The myth of the solitary artist, particularly in the twentieth century, is the focus of this volume. Collaboration, according to Cynthia Jaffee McCabe, has been a vital and heretofore little recognised component of avant-garde artistic development in the visual arts throughout the 20th century. A European phenomenon during the early part of the century, collaboration among artist is now an integral part of the international scene.
What is the true nature of thinking? Can it best be understood as a solitary activity of a lone individual? This book suggests that our grasp of creativity is impoverished because we fail to recognise the vital roles that partnerships, collaborations, friendships, and communities play in our thinking, learning, and understanding.