My Son Is Born
Now we move forward to January 2001, and I am frantic and stressed out about how I am going to make a living with my art. So I made a video about giving out foot washings and hugs and decided I would send it out to people and ask for donations to support this. A DVD is really inexpensive to make, so the package was cheap to mail. I sent it to well-known artists at first. The first letter went to the artist Jenny Holzer. Now remember, I have had no major shows, and I am an unknown artist in New York. In the letter, I told Ms. Holzer that my wife and I were artists and this is what we have been doing. I asked her if she would consider donating a small amount to help us. She sent a check for $200! Then I began to search for other artists that I liked, like Christo and Jeanne-Claude. I wrote them a letter and they sent me $400! The letters were not only inspiring, but they showed me that I could be a fund-raiser for my own cause!
I was getting the New York Times daily, and I would always read the section on the arts. And it was in February 2001 that I noticed a news item that said the Whitney Biennial curators had been chosen. That was one of the things I was after! I put together a packet right away and sent it to the museum. I put the curator’s name on the envelope. I also made an unusual decision. I decided not to put in a résumé, and I said that the work was a collaboration between two people. The reason I did not want to put in a résumé or biography was because I didn’t feel like I had a very glorious past. What would I say, “I lived on an island for almost ten years and had a show every year in my own gallery”? I felt that my past was also irrelevant to understanding my present work.
This again brings up the example of dating techniques. When you want someone’s attention and you want them to like you, it is usually best not to tell them everything about your past, right? The reason for that is obvious, I think. Too much information! In this instance, it worked for me. I sent in a package with a short letter describing the work I was doing, and I signed it, “With love, Delia and Brainard.” It was an unorthodox package, that is for sure, but it was also a complete one. The museum had my name, number, and email address (I had no website), and a short letter and video describing the work. I waited and waited. Nothing came.
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.