{"id":32816,"date":"2019-03-21T15:22:08","date_gmt":"2019-03-21T19:22:08","guid":{"rendered":"https:\/\/www.wework.com\/creator\/creator\/?p=32816"},"modified":"2020-02-26T14:30:39","modified_gmt":"2020-02-26T19:30:39","slug":"there-is-no-such-thing-as-a-sellout-anymore","status":"publish","type":"post","link":"https:\/\/www.wework.com\/ideas\/professional-development\/creativity-culture\/there-is-no-such-thing-as-a-sellout-anymore","title":{"rendered":"There is no such thing as a ‘sellout’ anymore"},"content":{"rendered":"\n

I\u2019ve always had this theory that money can \u201cfeel\u201d different, depending on where it comes from. That the money you get for grinding out paid work for a company has a different energy than the money you get for your true-blue creative-soul work (if you\u2019re able to get paid for that work at all). <\/span><\/p>\n\n\n\n

But there are many artists and creatives who make a strong case to the contrary. A group of them came together recently to discuss the intersection between art and commerce at a panel co-hosted by WeWork and BRIC at <\/span>WeWork 81 Prospect St<\/span><\/a> in Brooklyn, New York. They shared what it means to be a working artist in today\u2019s world, how corporate work can inspire a richer artistic practice, and the trick to maintaining your ethical center when a company is footing the bill.<\/span><\/p>\n\n\n\n

Every bit of making feeds the beast<\/strong><\/b><\/h2>\n\n\n\n

\u201cI\u2019m lucky I get to make art every day,\u201d says Mike Perry, a multidisciplinary artist and illustrator. To Perry, there is no line between \u201cart for them\u201d and \u201cart for me\u201d\u2014rather, all the work he does feeds his daily practice. \u201cI love an assignment because I\u2019m free to explore, learn something, experiment with new materials and ideas,\u201d he says. \u201cI can be influenced by something I\u2019m paid for.\u201d Perry says he can sit down at 7 a.m. and work on a project for T-Mobile for five hours, then turn to his tackle box of oil paints in the afternoon to create something entirely for himself.<\/span><\/p>\n\n\n\n

This conversation goes <\/strong>way<\/em><\/strong><\/i> back<\/strong><\/b><\/h2>\n\n\n\n

The Baltimore-based street artist-cum-muralist Gaia is quick to point out that art has been dependent on commerce for centuries. Drawing a strict boundary between what is \u201creal\u201d art and what is paid for by someone else doesn\u2019t add much to the conversation, he says\u2014and if taking commissions allows the artist to focus on their work and put food on the table while remaining in touch with the real world and engaging with audiences, why shouldn\u2019t they?<\/span><\/p>\n\n\n\n

\"\"
Panelists (from left) Mike Perry, Devin Vermeulen, Gaia, and Chelsea Campbell with moderator and WeWork’s vice president of content and campaigns Laura Brounstein (center).<\/figcaption><\/figure>\n\n\n\n

Boundaries spark creativity<\/strong><\/h2>\n\n\n\n

As a creative director at Pandora, Chelsea Campbell works within some of the strictest borders of all: 30-second audio ads. \u201cConstraints make for better creation and better creativity,\u201d she says, noting that the ad can play to the listener\u2019s \u201ctheater of the mind\u201d. <\/span><\/p>\n\n\n\n

Money affords bigger, better projects<\/strong><\/b><\/h2>\n\n\n\n

If someone will pay you to go bigger\u2014and let you learn how to do it in the process\u2014could you turn it down? \u201cScale is hard, and money makes scale happen,\u201d says Perry. Money also allows projects to expand and grow. At Pandora, the algorithm is so good at predicting what music listeners will enjoy because musicologists work behind the scenes categorizing each song by up to 400 traits. This form of creativity is born from technology funded by a corporation \u2026 but it trickles down to a pleasurable user experience. When Pandora uncovers your new favorite song, you\u2019re not thinking \u201cWhat a smart technology company,\u201d but instead, \u201cWow, they know me so well.\u201d<\/span><\/p>\n\n\n\n

Ethics drive compatibility<\/strong><\/b><\/h2>\n\n\n\n

Finding a brand or company whose mission aligns with yours as an artist is critical to a successful collaboration. When Devin Vermeulen, a senior creative director at WeWork, asks an artist to create a mural for a WeWork location, the project isn\u2019t just in service of the brand. He\u2019s going to them \u201cbecause we like what they do and want the project to align with their mission,\u201d he says. \u201cWe want to see success as a byproduct of having an impact on the world.\u201d <\/span><\/p>\n\n\n\n

Every project needs to please stakeholders<\/strong><\/b><\/h2>\n\n\n\n

Any creative project comes with different voices telling the artist what to do\u2014and that doesn\u2019t change whether it\u2019s a corporate gig or a mural on a street corner. Gaia says it\u2019s important to build consensus among competing agendas and what each person expects to see. \u201cMy job is to synthesize and find a balance\u201d between everyone, he says, whether that\u2019s a hotel manager with specific needs for an installation, or a grandmother living on the corner in Baltimore who has expectations for the art that should be on her street. <\/span><\/p>\n\n\n\n

\u201cSelling out\u201d is different for everyone<\/strong><\/b><\/h2>\n\n\n\n

Perry noted a recent uptick in the use of the phrase \u201cselling out,\u201d which he says peaked in the early 2000s and now seems to be coming back around. Perhaps that\u2019s a function of a robust economy\u2014more companies have the ability to commission artists<\/span>\u2014<\/span><\/i>as more people are ditching the 9-to-5 and identifying as artists and creatives.<\/span><\/p>\n\n\n\n

But <\/span>when a brand and an artist want to work together and their missions align, there\u2019s no harm done, says Vermeulen. <\/span>Campbell put a fine point on it: \u201cSellout has turned into collaboration.\u201d It\u2019s the artist\u2019s prerogative to decide what \u201cselling out\u201d means for them\u2014if it means anything at all. Getting paid by a corporation may allow them to live their dream in another capacity. <\/span><\/p>\n\n\n\n

The blur can be good<\/strong><\/b><\/h2>\n\n\n\n

Perry recounted creating a giant 80-by-30-foot mural for Jameson whiskey. People on Instagram loved it, and he was confused\u2014<\/span>It\u2019s an ad<\/em>,<\/span><\/i> he thought, <\/span>They all love an ad?!<\/em> <\/span><\/i>Finally, someone told him, \u201cMike, we\u2019re just really happy you got a job!\u201d<\/span><\/p>\n\n\n\n

The public is often less concerned with the distinction between art and commerce than one would think, especially if the merger gives rise to something better. As Vermeulen said: \u201cIf I\u2019m going to be bombarded by an ad, I\u2019m glad it\u2019s done by an artist.\u201d<\/span><\/p>\n\n\n\n

For all the blurring of art and commerce, Perry said something that rang in my ears after the night was over. \u201cMaybe,\u201d he says, \u201cwe should think about ourselves as humans and people and not brands at all.\u201d<\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

Commercial jobs can feed creative inspiration\u2014these artists say the magic is in the balance<\/p>\n","protected":false},"author":1701,"featured_media":32828,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[43902,43908],"tags":[502,525],"class_list":["post-32816","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-professional-development","category-creativity-culture","tag-creativity","tag-personal-growth"],"acf":[],"yoast_head":"\nThere is no such thing as a 'sellout' anymore<\/title>\n<meta name=\"description\" content=\"Commercial jobs feed creative inspiration, and creativity yields more branded gigs. 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