“[…] This is not a case of an artist hiring assistants to paint hundreds of spots on canvas or sending a maquette off to a foundry. There is no work of art to speak of until the artist and studio begin working together. The genius of animatronic sculpture depends on lifelike movement—but the real geniuses who bring the sculptures to life barely get any credit. So why not? With very few exceptions—the Broad’s website is one—most museum and gallery statements and, for that matter, interviews and reviews fail to identify the studio, let alone describe its contribution. So why is this?”
“[…] It has the makings of a larger art market cover-up. David Zwirner’s decision not to publicise the studio’s role surely helps to ensure that these works of art seem more original or valuable than the latest Hollywood zombies. The art press tends not to find technology as sexy as the story of the boy-genius artist wrestling with his demons. And most collectors don’t seem to care.”
Over het al dan niet geven van artistiek krediet aan de vakmensen die een kunstenaarsidee tot leven brengen. Naar aanleiding van de grote Wolfson show in het Stedelijk van Amsterdam.