Matt Sesow - On the "Six of One, Half a Dozen of the Other Modern Art Questions"
Matt Sesow
Matt Sesow
Matt Sesow
Matt SesowMatt Sesow on “The Six of One, Half a Dozen of the Other Modern Art Questions”
“The Six of One, Half a Dozen of the Other Modern Art Questions” are designed to build a collaborative body of thought from artists about the subject of contemporary art in contemporary American society.
If you would like to participate in this project, please feel free to submit your answers by email to the following questions .
WHO – is your favorite contemporary American artist and why?
Since I am most intimately connected to my own work, I would have to say that I am my favorite ‘artist’. Although I am not sure calling myself an ‘artist’ is an accurate label. It seems the label ‘artist’ should be something academia attaches to a painter whom is towards the end of his/her life, has been validated by his/her achievements, and established as having a unique or innovative vision. Too many kids, hobby painters, and weekend graffiti tinkerers are getting lumped in as ‘artists’. A ridiculous notion is to call them ‘artists’ … those whom tire of painting after realizing that painting is very hard, takes a great deal of dedication and that to be prolific requires a sort of hermit-like abandonment of most all social and interpersonal relationships. Everybody has fifteen paintings in them… “fifteen minutes of fame”. Nothing changes after the first solo show for any painter .. you have to continue to paint, stay fresh. Contemporary galleries and art agents care about making money and most likely don’t feel those whom they represent are the next Picasso… if they did, they’d buy all the painter’s works outright, give them an annual salary … including a dental plan.
WHAT - was your first memorable encounter with a work of visual art like?
My first memorable encounter with a work of art or a body of work was at the Salvador Dali museum in St. Petersburg, Florida. Traveling from Nebraska to visit grandparents in Florida for holidays in the early 80’s afforded me this opportunity. I was able to hear long descriptions of Dali’s work, get close to his intricacy, and see first-hand a progression of his life and dedication to living as an artist. I was particularly amazed at the weirdness of the surrealists, the breaking of the rules, and the docent’s explanation that Dali did not use drugs or hallucinogens to ‘get’ his inspirations was inspiring. Although I had no interest in becoming a painter in the 80’s, I as drawn to Dali’s film “Un chien andalou”. It was his tie between the surrealism of painting to film that inspired me to take up creating auto-biographical short films in the early 90’s … soon after my arrival in Washington, dc.
Other early contact with visual art included a visit to see Picasso’s “Guernica” at the MOMA (New York City) in the 70’s during a family vacation. I was only 12 or so at the time, but remember slowly traversing the walls at the MOMA; whilst my brother and sister ran through the museum’s exhibition.
Another huge early influence on me artistically was the semi-annual publications of “Raw Magazine” (1980’s) out of New York, purchased by me at a university record store in Lincoln, Nebraska. The magazine featured the likes of Sue Coe, Charles Burns, Art Spielgman, and Gary Panter. Interestingly, Panter had a solo exhibition of his work two months before my first Solo Exhibition in New York City, at the Big Cat Gallery (East Village) in 2004.
I’d be remiss not to mention the influence of “Maximum Rock N Roll” magazine and it’s radio show during my formative years growing up in Lincoln, Nebraska. Once a week I could tune into an independent commercial-free Lincoln station to listen to the latest in punk music in the 80’s. The magazine (purchased at local record stores) introduced me to and inspired me with band/flier art, the writings of Noam Chomsky, and the way a strong political statement can be made through art.
WHEN – did you first change your mind about an opinion you held concerning a particular work of visual art or visual artist?
I began as a critic of Warhol’s work when first exposed to his soup can and pop star art. I thought his work regurgitative cookie-cutter and lacking the deeper meaning of a Dali or Picasso painting or the social commentary of Raw Magazine and Maximum Rock N Roll. I later learned via watching films/documentaries on Nico, Basquiat, and the Velvet Underground that Andy Warhol’s “life” was his art. He dedicated every breath to advancing his vision … inspiring and enabling others to create greatness. His paintings were just a piece of his life, not the whole … after seeing his film “Blood for Dracula” I was hooked as a Warhol fan. I learned the meaning of “artist” via my self-studies on Warhol.
WHERE – do believe the next important visual art contribution in America will emerge?
The next important contribution to visual art is happening now on the internet. I have been maintaining a webpage of my own work since 1996, happily seeing myself as a pioneer at using the web to display and sell original paintings directly from the painter. Since abandoning my full-time job as a software engineer in 2000, I have supported myself entirely off the sales of my paintings, primarily off my webpage at www.sesow.com
WHY – do you believe the visual arts are important to American culture?
Visual Arts are important to American culture in that ‘non decorative art’ can take the viewer beyond the corporate media’s version of reality. Contemporary visual arts can be descriptive and provide revealing insight to the policies and consequences of the artist’s governing state or domicile. Art that challenges the status quo to take a stand against self-expression and freedom of thought is paramount to societal growth and evolution. Much of today’s American pop art is predictable, non challenging, and fits nicely within restrictions imposed by the FCC, Centrist Democrats, and god believers. In March 2003, an artist that produced works depicting the hell of fighting a war in Iraq would be labeled a anti-American… today that same artist would be labeled a visionary.
Each year in July I participate in a project that i created called “31 days in July”. For three years now, each July, I create thirty-one unique 30” x 40” paintings inspired by the day’s news (derived from the cover of the Washington Post). By midnight, july 31, I have thirty-one paintings that have uniquely captured each day of the month. it has been my experience that the project has exposed people to news they weren’t aware of. Through a painting, the depiction of the day’s events provides the viewer with a different understanding and means to ‘remember’ the times they lived in.
HOW – in your opinion, can the visual art professionals currently working inside the present structure of art museums, visual arts centers and both for profit and not for profit galleries in America, as well as members of the general artist community in this country, better engage the American public toward a more informed understanding of and appreciation for contemporary art?
Serious non-decorative artists should be creating for the right reasons … not for money, not for fame. They should do it as a way to communicate, to relate their unique experiences and ideas. Today’s real artist/painters need to make their work affordable for everybody, not just the bourgeoisie art investor. A college kid should have original art hanging in his/her dorm room. Painters should be on the streets, at the festivals, introducing people to their art, making it affordable and exciting to own…
By making paintings affordable for everybody, American culture will better appreciate art. Artists that sign exclusive deals with galleries or agents oftentimes tie their prices in at unreasonable levels. Many painters want to be perceived as ‘street’ or ‘blue collar’ in their lifestyles, yet after they sign a contract with a gallery or agent, their art becomes unaffordable and alien to their friends and the life that inspired the work in the first place… it’s the classic American enigma… vision and creativity sacrificed for profit and greed.
To the people that are painters and want to be painters I say… stay with it… but you should leave it when it becomes redundant and predictable. Don’t call yourself an artist … shock yourself … paint badly ... heal.
Love,
Matt
Artist Bio:
· 1966: Born in Omaha, Nebraska September 10, of American parents.
· 1974: Struck by a landing airplane near rural Nebraska home. Arm severed by propeller, re-attached at hospital, dominant hand amputated by doctors.
· 1980: Traveled to Newcastle, England where he participated in disabled olympics on US team.
· 1985/88: Left home to attend college in Oklahoma, received scholarship from Mensa society. Attained a BS degree in computer/software engineering. Began to make drawings and created/designed advertising for university; did not attend art school, no painting training/classes. Worked as radio DJ.
· 1989/92: Moved to Washington, DC; worked in an office at IBM as software engineer.
· 1993: Began painting in oils; painting on weekends and evenings; works inspired by childhood trauma. First short film, 'Seize the Day', completed.
· 1994: Short films by Sesow shown at Washington Project for the Arts group exhibition and selected for DC Psychtronic Film Society exhibition.
· 1995: Sold 14 paintings in one afternoon on streets of Georgetown; first time paintings by Sesow seen in public; Signed five year contract to be represented exclusively by art agent who bought some paintings that day. Traveled to and painted in Mexico and Belize (arrested in Kansas, completed 'Holiday in Kansas').
· 1996: First group exhibition at 'State of the Union' gallery in Washington, DC. Lectured at Georgetown University on his short films. Short film 'The Box' wins 'Best Experimental Film Award' from exhibition sponsored by Kaleidospace in LA, California.
· 1997: Moved to San Jose, California and began painting full time. Group exhibitions at San Jose Institute of Contemporary Art, and San Jose Art League. Traveled to and painted in China, Hong Kong, Malaysia, and Singapore.
· 1998: Married, worked briefly in computer field. Traveled to the Solomon Islands as a Peace Corps volunteer; painted using acrylics and oils.
· 1999: Returned to Washington, DC, divorced, worked briefly in the computer field. Interviewed by Brutarian Magazine.
· 2000: Purchased and moved into painting studio in DC. Began painting at feverish pace and working full-time as an artist.
· 2001: First solo show at Corcoran Museum in Washington, DC: 45 works on display. Began self-representing and fired his art agent.
· 2002: February: lived for one month in Sofia, Bulgaria; painted using acrylics. Sold approximately 700 works during the year. List of shows/awards detailed below.
· 2003: June: selected by jury for first artist residency in Costa Rica; painted using oils and acrylics. July: conceived and began ’31 days in July’ project. August: Painted set for Hollywood play. September: awarded ‘best artist’ at annual Adams Morgan festival. October: guest artist at Kentuck Festival.
· 2004: First New York City solo show at ‘big cat gallery’ in east village. First major exhibition at American Visionary Museum in Baltimore (3 paintings selected)
· 2005: January: New York City show at "Ramscale Gallery" in west village. February: Painted in Buenos Aires, Argentina
March: Solo show, Guillotine Gallery (Atlanta, GA) April: "Collateral Damage", Phoenix, 10 plays created around Sesow's 8'x9' canvas painting ("CD" a living hell), SOLO at gallery.
May-June, SOLO shows in DC, Lincoln, Atlanta
July: SOLO at Gallery Co. in Minneapolis, 31 Days in July project
Matt Sesow now works and lives in Washington, DC as an independent full-time artist.
posted by The Right Reverend James W. Bailey at 11:05 AM
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