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There is nothing* that had more impact on my perspectives on making/loving/organizing/keeping art than art school. While involved in its processing I worked rather desperately against it, testing its boundaries and opportunities as only a student can. Now, outside of it, I can’t help but continue to look back at it and consider its role as a behavioral script which proposes an expressiveness akin to free-jazz, where the “spontaneous” and “improvisational” gestures of the mind and its tools are simply the paradoxical tension of a highly specific system and an idea.

Because I believe that collective sharing of such ideas will soon become quite fashionable, all while the intentional augmentation of the young-artist becomes that much more transparent, we’ll soon move towards collectively understanding the limits of art education [primarily as a remote economy] and its supposed economic expansion of the creative mind. With such collective understanding might come a renaissance of creative concern for populist well-being, or conversely, a hyper-ironic rebirth of the super-specialized-art-school-artist. The questionability, of outcomes alone, is enough to pursue an ongoing post [+ art school] in order to participate in a developing market of art values.

References:
Art School (Propositions for the 21st Century) [A more thorough than thou version of said topic.]
I like your work: art and etiquette [A pamphlet of codified art professionalism, or an attempt thereof.]

*nothing is not true. It’s safe to say that the compilation of my most recollected memories within my personal history is just as responsible for my art behavior, if not more, than art school.

[posts prompted by multiple conversations with Bradley Wester]