of high counters and deadly drops

seriously though, when I was in artschool, I had so many personal meetings after class hours, with instructors, in their office–where I point blank told them I was not interested in having my work in art galleries, and that I didn’t want to have my body of work forced into that direction. 

 You have no idea how confusing this was for instructors. How will you get your work seen?? How will you make a living??? What are you aims with this????

 I had to explain to them what the internet was, and why it was my favored avenue. Why it was infinitely better to me than scrambling to score gallery exhibitions, and why it was the best avenue for the kind of work I wanted to do, and how it was more lucrative if I did want to make a living doing what I loved.  

 This (among other very passionately worded counter-arguments to other very asinine assumptions), forced them to approach my work differently than what they were use to. And I guess for a 70 year old, tired white dude, that’s a lot to ask for. So a lot of my crits were “I don’t know how to talk about this…does anyone else have anything to say about the piece?”

On the bright side, I finished fourth year with a very high GPA because even the instructors who “didn’t believe in giving out A’s” gave me A’s because I, apparently, completely stumped them. Wow, wow, wow.

[Fine] Art school is only for people who’s work already fits the institutions narrow expectations, or for very angry little illustrators who yell a lot, write lengthy extra-curricular essays and come equipped with a deadly supply of well considered counter-arguments. 
 Everyone else is gonna have a very frusterating time, and if they don’t drop out, will graduate with their confidence destroyed and a completely directionless body of work (not to mention a ton of debt).

If you do illustrative work, and don’t like confrontation or delivering passionate arguments, I really advise against post secondary fine art programs. It’s just a really expensive, four year headache.