Robert Walton, a D.C. based artist, participates in the Artists Interview Artists Project. Below Robert responds to another artist's five questions (Candy Keegan from Washington, DC). In order to participate, Robert had to provide me with five questions for some other artist to answer. The assigning of questions to artists is completely random. If you're an artist and interested in participating, let me know.
1. When and under what circumstances did you first refer to yourself as an "Artist"?
October 16, 1998. Ok, no.I really think the title of "artist" is both meaningless and important: anyone who creates art is an artist; and I believe everyone has that in them. So it's a potentially ubiquitous title, at least. It's something I think most everyone could call themselves, at one time or another.
But really, I think you begin calling yourself an artist when it becomes the simplest and most direct route to explaining what it is you do -- for me, that's the creation of something with the goal of making a connection with people.
2. What bothers you (if anything) the most about contemporary art and the art-world of today?
As a photographer, I am deeply troubled by restrictions that seem to be placed on what I do. I've been stopped on the street and questioned for taking pictures, under the guise of "security." I've had the Secret Service run an ID check on me, for shooting photos of public buildings in public spaces. And my experiences and troubles have been relatively minor compared to what some other photographers have faced (arrest or harassment).I'm not trying to downplay the need for security (it's essential), and I'm really not to trying to make too much of a political statement here. But the rights of photographers are quickly being eroded, and public sentiment is, or has been, largely of the view that it's ok because we need to be more secure.
3. What do you think are the most positive things about being a working artist in today's cultural climate?
Two things come to mind. First, that a wealth of spaces to show your work, combined with the growing use of the Internet as an exhibition space, means that it's easier than ever to show more viewers more of your work.Second, I think that people are really receptive to artists – especially, perhaps, younger and newer artists. Not to draw too many wild conclusions, but sometimes it seems that the world has managed to work itself into such a pent-up and messed-up state that anyone (the artist) willing to lay bare their thoughts and beliefs can find others willing to listen and connect and share.
4. Who are three artists that you admire and who are three that you don't and why?
I have great admiration for anyone willing to make art -- it's something think takes a lot of courage, despite the fact that art is everywhere. You have to be willing to be honest with yourself and others, and that takes strength.Generally, though, I have great respect for under-recognized artists who simply don't quit. Those artists who continue making their work for the sake of the work, because they enjoy it, because it's what they do. A lot of people make art and then stop - often, after art school/training, when direct feedback and encouragement may not be so easy to come by. I have tremendous respect for those artists who keep on, because they have to or need to.
Specifically, if I was going to pick one artist, I'd say I have a great admiration and respect for Matt Sesow. He's a prolific Washington, D.C.-artist who had no formal training and who simply decided he wanted to paint. From what I've read about him, and from speaking to him a few times, he worked at it, dedicating himself to painting, and simply made it happen. He was willing to put the time and effort and work into it, to turn something he previously didn't know that much about into a full time career and passion. How can you not admire that?
5. Where do you think the majority of your work will end up thirty years from now?
That's a hard question to answer honestly. And while I'd love to say, straight-faced and with faith in my conviction, "in museums and collections and in the social consciousness," that would be a horrible lie.The truth is that a lot of art, maybe most, has a limited life-span. A lot of art ends up in garage sales and attics and sitting out on the curb. My hope, with the understanding that a lot of my work will indeed end up forgotten, is that some of it will connect with people and that someone will own and appreciate and enjoy parts of my work on a personal level.
Previous Interviews:
Juno Doran (questions by James W. Bailey)
Josh Feldman (questions by Joseph Barbaccia)
Lisa Stephenson (questions by Whitney Lynn)
Joseph Barbaccia (questions by Josh Feldman)
James W. Bailey (questions by Matt Hollis)
Matt Hollis (questions by Juno Doran)
Carol Es (questions by James Leonard)
Alexandra Silverthorne (questions by Ami Lahoff)
Christine Buckton Tillman (questions by Carol Es)
Douglas Witmer (questions by Alexandra Silverthorne)
Sky Pape (questions by Douglas Witmer)
Whitney Lynn (questions by Lisa Stephenson)
Heather Levy (questions by Joanne Greenbaum)
Heather Lowe (questions by Samantha Wolov)
Samantha Wolov (questions by Heather Levy)
Timothy McClellan (questions by Heather Lowe)
James Leonard (questions by Sky Pape)
Joanne Greenbaum (questions by Timothy McClellan)
Richard Kooyman (questions by Robert Walton)
Candy Keegan (questions by Warren Craghead)
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