Episode 81 – Making It in the Art World by Brainard Carey / How It Was Done, DIY Style

How It Was Done, DIY Style

His story begins with him putting up posters of his artwork, in a graffiti style, all over Los Angeles in 2007. That was the beginning of his marketing, you could say, for his exhibit. In 2008, he rented an abandoned building, the former CBS Studios in Los Angeles, California, and decided to stage his own show there. He worked tirelessly to fill the space, hiring other artists to do much of the work for him. Like Andy Warhol, he made prints as well as paintings and created portraits of numerous famous pop figures. He also created sculptures and installations. He hired other artists to make most of it for him.

He oversaw the entire process, but to make enough work to fill the gigantic building he was in, he needed people to manufacture and create new designs for paintings. He did this entire production by himself; that is, he had no gallery dealer or representative, just employees. It was, as the press called it, a DIY show, a do-it-yourself exhibit. He must have spent a great sum making all this happen, and has said that he asked people to purchase works in advance to finance much of it. He did hire a curator to help him, the same one that produced the Banksy show a few years earlier.

As a promotion, he said he was going to give away two hundred prints to the first two hundred people that came to the opening. That night, an estimated seven thousand people came to his opening. He sold almost a million dollars’ worth of art! And in one bold stroke, the art world knew his name. To this day, the art world continues to dislike him because he did not travel through the usual channels of the art world; he did it in his own way, on his own terms. And in my book, that is just fine because he is prospering off his work, doing what he wants, and like Damien Hirst, he is challenging the so-called rules of the art world.

When I want a show, I ask for it. When I want money, I ask for it.

Since that show, he opened a similar one in New York in an abandoned warehouse. In New York, the show was also mobbed, and he gave away hundreds of posters and sold work as well. This is a wonderful example of how an artist can not only work outside of the gallery system, but can create their own mystique, marketing, and sales on their own. Is his art good, and is he talented? In this case, as with the others, that is not the issue for me to decide. Because if he is talented or not, he is making it in the art world in a big way. Selling work at major auctions is the ultimate goal of being recognized in the art market. When we examine an artist like this, for the purposes of this book, we are not determining if this is good or bad art; we are looking at his techniques for earning a living and becoming well-known in the world of art.

Part of his initial success was due to his having mounted a show that was so large (over 125,000 square feet) and also to his status as an unknown artist. When you do something on a scale that is record-breaking, the press pays attention. It is a technique used by many promoters and was one of the elements brought into play for this show. He also asked for the help of other people who had organized events in the past. Besides being a driven, obsessive artist, he was also getting all the help he needed. The movie that I previously mentioned, Exit Through the Gift Shop, is a must-see for readers of this book. You will see more details of his story and will probably find it quite inspiring. As with Banksy and Damien Hirst, Mr. Brainwash took the idea of an independent warehouse show to a new level. He was bold and brave enough to believe in what he was doing, and took it one step further than most by making it on a scale that most never imagine doing.

There are many lessons to take from this artist, but I think the most important is that this is a way of working, a way of making it, that is new to the art world. No one had ever seen an artist rise this high and this fast, especially in this manner, separated from the art institutions that are normally the stepping-stones to success.

To learn more about Brainard Carey and his services for artists, or to take a class from him, click here.  To join one of his free weekly webinars, click here. To download the workbook mentioned in this series, click here.


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