>>On the other hand art is somehow assumed to be a special case in our world.

I think this is most due to a romanticized vision of what an artist really is/does. When people think artist, they think of the starving-artist stereotype - locked away alone in their studio pursuing their passion and living in poverty to 'do what they love'. Or, the crazy-genius archetype (think Van Gogh). People attribute creativity to 'natural talent' or 'artistic genius', when it's really a skill that can be sharpened the same as running a business like a CEO would.

Craftsmanship and creative vision are two sides of the same coin art, just as they are in business. You can have a killer business idea, but it's worth nothing without proper execution. The same goes if you are a skilled programmer but have no vision on how to sell your skills.

> when it's really a skill that can be sharpened the same as running a business like a CEO would

Running a business is not the same as visual art, literature, mathematics, physics. Most people will spend years sharpening their skills at these things and never produce something of note. It's not romantic to say this, it's just the way it is.

Except we attribute the product to the company, not the CEO. Wouldn't the equivalent be "This is a MyArtStudio piece of art", rather than "this is a piece of art by pdpi"?

We identify and categorize products through branding, which often has very little to do with their corporate origin. The artist's name (and their story) is a brand.

But, I wonder, once the “artist” dies, can the brand continue to produce with the same or better renown?

I haven't read a Tom Clancy book in ages, but it was just very recently I learned that he had died, and that the books with Tom Clancy written all over them in the airports in fact were not written by him.

If you see "Tom Clancy" on the cover he probably wrote it but if you see "Tom Clancy's" that's a sign that somebody licensed his name. The same for Sid Meier's Civilization and such.

look at fashion designers. almost all big brands still carry the name of one dead "artist" (eg. Channel). And in some cases, the living artist even sell the name so this happen sooner (e.g. marc jacobs, kate spade)

I think you make a good point, although these have been more brands in the traditional sense who hire designers (who after making their mark) go off and found their own design house with new up and coming designers...

Once most movies have digital reconstructions of dead actors, identity will lose meaning and I think we'll start seeing new works by picasso.

this won't happen with paintings because paintings are not art. They are artificially rare investments. The (financial) powers that makes a painter relevant will ensure new works, even if what you suggest happens, will never carry any value as it implies dissolving the value of previous works. Its the same mechanism that makes only dead painters world famous.

You can't imagine some marketing firm deciding to call new works "Effluvia, by Pablo Picasso"? No arguing it wouldn't have the value of an original, but I'd wager everything it would sell for more than the same thing by Josh Leap.

I'm thinking black webpages with pencil thin white fonts. You have to scroll down like 3 meters of page before you get to any content, it's just tag lines every break, staggered on either side of the page.

"After more than a century" "We revived the master" "Witness history being made at <blahhbhablh> on <date>"

Then they hold an auction, pay a descendant or two some money and book their trip to Aspen.

I can imagine the art world rejecting a newly produced work by Picasso. In fact, it’s already happened: many forgeries have been made and disclaimed over the years. The difference is just that a truly new “Picasso,” marketed for what it is would not land anyone in prison.

Picasso is kind of an interesting example. In his later years, he got involved in ceramics, working with a small factory in the south of France. He turned out hundreds of designs, some made by the factory artisans in editions that ran into the 100s of copies.

For years they were ignored, but they've been growing steadily in value as they come to be seen as worthy Picasso works in their own rights.

They aren't really "new" Picassos, but they hadn't been considered as valid as they are now.

http://observer.com/2015/04/so-you-want-to-own-a-picasso/

I'm not talking about forgeries, I'm talking about paying artists to ghost draw for you, and coming up with flowery language to obfuscate, but not defraud the fact it is a "re-imagining". Think the albums released by Tupac since his death.

If you want some added legitimacy, drop a paint chip from an authentic Picasso into the mix, homeopathy style. If no one will let you do that, pay someone with some Picasso's to let you leave your paintings in the same room as them for a few weeks. Then, pay someone to write on behalf of the people who did the painting to say they "felt Pablo's spirit working through them, guiding their hand."

Get a descendant to sign off on how emotionally impactful and authentic the whole thing feels and I think you've got a high 5, low six figure painting. Do like 5 of them for your grand debut and I think we have a real RoI.

Yeah a ton of real artists will loudly decry it, articles will be written, teeth will gnash -- but I think they would sell with little to no difficulty.

I think this vision of the future is a little too despondent for my first cup of coffee.

Sorry if I brought you down. Despondent is where I tend to go when I prognosticate. There's nothing sacred when it comes to people making money.

Damien Hirst has dozens of technicians and they crank out paintings for him.

Theranos?

You make a strong point, but I would argue there's more subtlety than you acknowledge. At least there are other metaphors that might shed light on the idea of agency.

For one, there's the coach of a team sport. We don't say that the coach played the game, but we do credit them with being a vital part of the team's success or failure. These artists seem more like coaches than CEOs to me.

One big difference between artists and both CEOs and coaches is that the products of an artists are standalone, enduring (except for some new media works) pieces. And I think that difference makes artists and the analysis of a technician in the production of any piece a somewhat unique situation.

A coach is different because the players get one chance to play the game. Art can be redone as many times as you have the time and resources for. When doing that directing the iterations and making the final selection becomes the important thing. For example, take this piece from the GP:

https://en.wikipedia.org/wiki/Dale_Chihuly#/media/File:Chihu...

How much credit Chihuly deserves varies wildly with how that piece was made. If he had merely said "Make me some yellow/orangish flowers" then he doesn't deserve much credit. If the ~40 flowers we see were the result of 1,000 attempts with him directing ("Make this one 1" bigger, this one less orange" etc.) then he deserves almost all the credit.

A common idiom on HN is that "ideas are cheap". The artist has the ideas, we often naively credit then with the implementation too; the implementation isn't 'the easy bit', it's an essential part of creating an artistic work.

Duchamp's fountain is a fine idea that continues to inspire newcomers to that age-old what-is-art question; but truly the material science and manufacturing process and craftsmanship that went in to that urinals design and production are a cause celebre - greater than Duchamp's idea by far IMO.

Now reflect on Warhol's prints; derivative instead of visual design rather than artefact production. But Warhol designed and created the works.

IMO: commissioning art doesn't make you the artist of a final work that required artistic and crafting input from others. Warhol is the artist of his self-made silk prints; Duchamp's input to Fountain is curating, or social commentary.

The same is true in architecture,"Wren's" St. Paul's Cathedral would be nothing without the skilled masons. There's a line there somewhere though -- I wouldn't include the sandwich makers, the steeplejacks, et al., A amongst the creators of that work, ...

(This all brings to mind Gaia Hypothesis.)

Ah, says the modern artist, but the art I create is the image/idea in your mind and the medium I use is other artists and craftsmen ...

This is a little egotistical of you I think. It is only your opinion. A CEO is generally in charge of maintaining something that already exists. An artist is creating something from nothing. Maybe a 'founder' fits your example better.