brian donnelly

Generation XX: How Kaws Short-Circuited the Art World


Brian Donnelly, a.k.a. KAWS, short-circuited the fine-art galleries and auction houses when his playful paintings and cartoon-inspired cast of recurring characters (known by their signature ‘XX’ eyes) led to record-breaking sales. Now his outsize success may forever alter the perceived legitimacy of artists who came up honing their skills on the streets.



August 5, 2019


I'm slaloming a mess of titans. To be more precise, I'm standing inside the Museum of Contemporary Art Detroit in the final moments before Alone Again, a new exhibition by the artist KAWS, opens for a crowd of VIPs.

Every which way I turn, I find myself unwittingly confronted by a tweaked-out member of KAWS's odd mob of massive carved wooden sculptures. The most common presence is the artist's iconic character Companion. (Imagine a Mickey Mouse-adjacent creature with a skull-like face, cauliflower-esque four-chambered ears, and KAWS's signature “XX” eyes.) And yet, despite their alien nature, the sculptures each exude familiar emotions.

Take SMALL LIE, for example: The eight-foot figure stands slump-shouldered, knees knocked, eyes glued to the ground. There's incredible pathos. Or AT THIS TIME, wherein Companion stands almost nine feet tall, back arched with hands cupped over eyes, conveying a kind of muted shock and disbelief. Not far away is FINAL DAYS, in which Companion is on the move, stepping one foot in front of the other, arms outstretched, doing a low-key Frankenstein strut. Given the fact that all the pieces are taller than me, the overall effect of standing amid the bizarre cluster is that of being fully submerged within a twisted Venn diagram of awkward human feelings.

Running along the back of the room is a 62-foot-long, 12-foot-high site-specific wall painting that fills the cavernous space with brightly vibrating energy. It is adorned with a trio of 6-foot-high-by-10-foot-long canvases. Each one is a teeming tangle of abstracted tentacle-like shapes over a background more reminiscent of the artist's earlier cartoon-inspired geometric planes. The synergy of all three elements comes together to elicit a sensation of being both transported and slightly held against my will in a kind of psychedelic Land of the Lost.

“Clearly there are elements of color field. There's amazing line work. And, of course, abstraction,” says MOCAD executive director and chief curator Elysia Borowy-Reeder, walking alongside me. “These paintings are really monumental.”

And this is a monumental show for MOCAD as well, at a moment when the appetite for KAWS worldwide is nothing short of rabid. To list just a few notable recent KAWS headlines: There was his 121-foot-long inflatable sculpture that floated in Victoria Harbour during Art Basel Hong Kong in March; a 33-foot-tall version of his newest character, BFF, made out of pink flowers, as the centerpiece of Dior's show at Paris Fashion Week; a line of clothing for Uniqlo that sparked Black Friday-style chaos and actual violence; and a record-setting $14.7 million auction of THE KAWS ALBUM—a 40-inch-by-40-inch painting, and homage within an homage, that uses the artist's “Kimpsons” motif to reimagine a Simpsons version of the Beatles' Sgt. Pepper's Lonely Hearts Club Band album cover. Any of these might have been a crowning achievement to an artist's career. For KAWS, it just amounts to what he did this past year.

And yet, sitting with KAWS—a.k.a. Brian Donnelly—the next day in Detroit, I was hard-pressed to glean, based on his understated demeanor, the staggering amounts of high-profile work he is producing and the roster of side projects he is currently involved in. This commitment to spreading oneself around is a sea change in the contemporary-art world. Projects of the sort KAWS takes on—a line of clothing, a product redesign—that were once considered taboo, or even career killers, for an artist on the hunt for a serious career are now understood to be part of the contemporary artist's purview. They are not just “acceptable” side hustles, but downright sexy additions to the portfolio. To someone like Borowy-Reeder, whose extensive and varied museum career threading through Raleigh, Chicago, Milwaukee, Los Angeles, and now Detroit has afforded her the POV of a kind of enriched outsider, the prospects of what a KAWS brings to the landscape of contemporary art is a welcome sign of the changing times. “The palace gates might still be somewhat closed—and there's a moat,” she says. “But I think it was Virgil Abloh who said, ‘How many collaborations is too many?’ He's mixing street and ready-to-wear fashion and killing it. And I hope more people get inspired by that model or lens of freedom, working on the outside, pushing in. With people like KAWS and Abloh, things could get really exciting.”

When KAWS was coming up in the late '90s, he was met with resistance by galleries and managed to book scant few shows. Despite the demonstrated success of “street artist” forebears like Jean-Michel Basquiat and Keith Haring, KAWS—who'd made a name for himself initially with graffiti-style tags and urban installations—struggled to get past labels like “too street” or “too illustrative” or “too commercial.” He was, for better or worse, relegated to success outside the gallery. But in the past decade, as the line between high and low in art has blended considerably and the sorts of side endeavors that KAWS has readily embraced since jump have become par for the course, KAWS's approach to being a contemporary artist has dovetailed seamlessly with what the moment craves most.

In Detroit, I ask KAWS if he approaches any of his paintings, installations, or collaborations differently, if maybe there is an inherent hierarchy based upon scale or degree of cultural significance.

“For me,” he says, looking at me like I'm speaking Sanskrit, “it's all the same thing—there's no difference between any of the projects I do.”

And that right there is probably what has made him, gradually and then suddenly, one of the best-known artists of his generation.

KAWS creates original paints with Golden, unique to only his work, on display here at his studio in Brooklyn.

It wasn't always this way. Back in 2003, when I first met KAWS—I was meant to write a catalog essay for a gallery show in Los Angeles that never happened—he was a working artist, arguably successful by most metrics but somewhat derisively labeled a “street artist” while, ironically, finding his interest in doing street works on the wane.

“The vibe in New York got weird post-9/11,” he tells me now. “In 2002 you weren't trying to break into bus shelters. Everybody was on edge and alert. ‘Who is this guy with a wrench taking apart this phone booth?’ ”

Leaving behind street work was a significant departure. KAWS had elicited attention in the early '90s throwing up traditional graffiti-style “KAWS” tags—a name that simply struck Donnelly as visually appealing; it has no hidden meaning—on billboards around Jersey City. “You're totally thinking how to have a visual impact,” he says. “And making stuff that's a quick read. You're competing against thousands of kids, and you learn from people who have done it before you.” There were inherently elevated stakes developing one's practice in the streets: You had to stand out against everything else in the cityscape.

After barely graduating high school, Donnelly cobbled together a portfolio and eventually gained entrance to the School of Visual Arts in Manhattan and, upon graduation, secured entry-level work doing illustrations for an animation company. It was at this point, in response to the change in his everyday terrain, that Donnelly's interests shifted. He had a new canvas, so to speak. “In Jersey City there were billboards everywhere, so that's what I painted on,” he says. “But once I got to the city, it became more about bus shelters and phone booths.”

More specifically, it became about the artist's “interruptions”—sly subversions of ads for hot brands like Calvin Klein or Guess, to which the artist festooned his Bendy character, a mischievous serpentine being he'd entwine around a Kate Moss or Christy Turlington. Because of their placement in downtown NYC and SoHo, the works were clocked by his growing number of fans—and were often stolen for resale. Eventually, KAWS began to sour on the operation: “When I first started doing the interruptions, they'd last like two months. At the time, I was working as an illustrator for Jumbo Pictures, and I'd mostly install them along my trail to work. But it got to the point where the pieces would last for like a half day. I'd go back to document them, and there would just be a pile of glass on the ground where I'd just installed the piece. I was like, ‘What's the point? They're just ending up on eBay or whatever.’ ”


The upside to the eBay heat was that the works traveled far and wide. Among the particularly fervent early admirers was an influential cadre of designers and tastemakers in Japan, including Nigo of A Bathing Ape, Hikaru Iwanaga of Bounty Hunter, Jun Takahashi of Undercover, and Medicom's Akashi “Ryu” Tatsuhiko. Donnelly, in turn, made frequent sojourns to their shores, where he developed an unlikely creative outlet. In collaboration with Bounty Hunter and Hectic, KAWS designed his first-edition “toy” in 1999. The first release, an eight-inch-tall version of the aforementioned Companion, which originally sold for $99, was followed by the release of the artist's next character, Accomplice, a slightly out-of-shape-looking Pink Panther doppelgänger with a Companion skull-head and a set of pert bunny ears. As the figures began reselling for thousands, their massive popularity began to lay the groundwork for the artist's zealous fan base.

Meanwhile, KAWS was making his earliest inroads into the gallery world. First, in 1999, with tastemaker extraordinaire Sarah Andelman at her seminal Paris boutique, Colette, and then at Parco Gallery in Tokyo. The 2001 Parco Gallery show featured two bodies of work. The first included black-and-white panels derived by abstracting imagery sampled from Chum, another character. The second was a series of colorful “landscape paintings,” which looked like tripped-out Ellsworth Kellys made from vast swaths of electric color and shards of Simpsons characters' heads. At the time, KAWS's decision to work in Japan was a pragmatic one, based on demand and the openness to his art there. But he recalls coming up against some wariness back home: “People were like, ‘Why are you doing all this stuff in Japan that nobody sees?’ I was going where the work and opportunity was. And when the energy started moving over that way [Asia], I was like 10 years in already.”

But the gallery success remained somewhat muted—there just wasn't the same sort of interest and energy as KAWS found in his other pursuits. In 2006, KAWS's established relationship with Medicom proved fortuitous once again when he partnered with the brand on his very own retail space in Tokyo, OriginalFake, which showcased his toys and OriginalFake streetwear. “Instead of playing the gallery game,” says Damon Way, who cofounded DC Shoes and approached KAWS about designing a sneaker at a time when artist-sneaker collabs were pretty much nonexistent, “he had all these sorts of proxies of influencers of culture in Japan that gave him so much lift and allowed him to avoid it.”

Having a brick-and-mortar operation gave KAWS his very own laboratory to beta-test ideas that struck his fancy. “I started OriginalFake because, in 2006, I decided not to care about galleries at all, not to give a shit, let the chips fall where they may,” he says, thinking back on his off-road adventure into the unconventional. “I was doing a completely commercial venture, a brand, a store. I designed everything, which was a lot of work, but when you work in all these different ways, you meet people, and that's ultimately what creates other opportunities, and so, ironically, that's when things started opening up.”

KAWS often leaves dots of color in working designs so that he can move between dozens of works at once without losing his place—a sort of paint-by-numbers.

KAWS often leaves dots of color in working designs so that he can move between dozens of works at once without losing his place—a sort of paint-by-numbers.