Transcript

1. Artist

   This is a video artwork — the piece is the moving image, not a still. I have the full transcript to share. Workflow I’ll follow: 1. Upload a poster still in the composer (for vision). 2. Add the video in the Media panel — primary video file OR YouTube/Vimeo URL. 3. Paste the transcript in chat for you to stage. Please set measurementType ["time-based"] and medium "video". Ask duration when we get to it. Stage all five tag fields after the poster still is analyzed. Use the transcript for context when drafting descriptions — do not invent dialogue or meaning that isn’t in the transcript. No painting, DCS, or ACH workflows. Weave reflective questions through the session; don’t save them for the end. this video was made in 2014 for a project for my film class at the comunity college in san francisco, its about how I got into artschool in holland

2. Art/Official

   Good — staged medium, year, city, and series. Workflow noted; I'll follow your steps. A film class project about getting into art school in the Netherlands — that's a specific moment in the origin story of your whole practice. Does this feel like a document of that time, or something you made with more distance from it?

3. Artist

   it was made later like 14 years later

4. Art/Official

   So 2014 is actually the subject — the application, getting in — but you made the video later, looking back. When did you actually make it?

5. Artist

   I made it in 2014, but was about what happened in 1998

6. Art/Official

   Got it — made in 2014, about events from 1998. That's a significant gap to be working across. Before you upload the poster still — describe this work to me first, before either of us sees it. There's no right way to do this — however it comes is exactly right.

7. Artist

   This is a video about how I got a chance to go to art school in europe

8. Art/Official

   Stored. Go ahead and upload the poster still in the composer when you're ready.

9. Artist

   I have uploaded the primary artwork image.

10. Art/Official

    No legacy record for this one — it wasn't on the old site. That tracks for a video work. The poster reads **"How to Euro Art School — Episode One"** — you're in what looks like your San Francisco studio, working on a transfer painting, in black and white. Is that the right title, and does "Episode One" mean there were more planned or made?

11. Artist

    yes, was planned but havn't yet - i have the transcirpt so will upload here Bernard Bolton, I'd like to tell you how I got the ball rolling to go to art school in Europe. From San Francisco, back in the day, started kind of doing art on my own. I was chilling, wanted to get out, so I started looking at Europe, traveling out there, saving up a little bit back and forth. I was over there in France, kind of Belgium, Holland, Germany. I originally wanted to kind of post up in Berlin, but I was a little bit too crazy at the time. Crazy, but raw, man, it was raw. I was like, there I stayed for a while, but when I started setting in, man, I got cold, so I went back to California to get a new plan, so I was like, all right, back in, back in California. Let me check out Amsterdam, Holland a little bit more. I was chilling there, you know, I was a little bit closer to what I knew coming from San Francisco, but, you know, still had that Germanic twist, so check it out, man. There were some cool people over there and went and posted out, doing some things, trying to work it out, making the art or whatever. Some things worked out, some things didn't, but once again, it was time to come back once that winter started setting in. So I was like, all right, but, you know, let me see what I can do for the future. So I'm like, let me check out the art school out here. The main art school in Amsterdam, the main fine art school, the Eric Rietveld academic. So it was a nice school, so I looked it up online, looked like it was possible to speak English and attend there, because it's like more of an international program. And I was like, all right, they had a little entrance examination, a preliminary one where you could meet some teachers, show them your work, and they would say, it's cool, and I invite you back for the main one. So I was like, all right, we'll check it out, gather my stuff together. You know, I had a bunch of drawings, watercolors, and a couple of acrylics I was making at the time. Got all that together and decided to make one acrylic special for the meeting. So I got a little canvas together, painted some kind of, forget what it was, which I knew would be interesting, but got it painted, grabbed everything, went down there, and met the teachers, and it was pretty cool. Showed up in a little room, got the stuff, showed them all the little stuff I was making on the traveling or whatever, and, you know, I'm not sure if they was feeling that so much, because they didn't really have a conceptual edge at the time, but, you know, they were like, all right, it's cool, whatever. And they were like, all right, let me show you this last one, this painting I just made. Brought it out, showed it to them, they were looking at it kind of funny or whatever, but then I was like, boom, grabbed a box cutter out, just slashed that thing, split it over my knee, threw it on the ground, stomped on it once or twice, and, you know, looked at it and was like, I'm ready to learn something new. And, you know, I seemed to go over a little bit better, that was cool, but all right, let's see what's up, why don't you come back in the springtime for the entrance exam, and they're just like, all right, cool, I'm going back to San Francisco and start to save up. It's cool, you know, it's like interesting to think back on action like that and destroying the work or what that means symbolically, I mean, I don't know how it plays out or whatever, but it definitely was breaking a style that I did and meant that to me. I mean, it's probably something good action to take every now and then. A good way to like move forward is what it is. But, you know, I'm not saying this is the best way to do it, I'm just saying it's how I did it. All right, thanks.

12. Art/Official

    That moment at the end of the transcript is the one that lands — slashing the painting, breaking it over your knee, stomping it. You say in the video it was "breaking a style" and that you meant it. Sixteen years later you're describing it to a camera. Did making the video change how you understood what you did that day?

13. Artist

    in some ways, the funny thing is I already made the video, but the day before I showed it to the class, the teacher had us watch a video about john baldisarri and he burnt a whole bunch of his work at one point, which I didn't know

14. Art/Official

    That's a genuinely strange collision — you'd already made the video, already told the story, and then the night before you show it, you find out Baldessari did essentially the same thing decades earlier. Did that feel like confirmation, or did it complicate the story for you?

15. Artist

    more like a confirmation, I like baldessaris work and was interesting that he did something similar, and also that I didn't know, so wasn't doing it because of him back then

16. Art/Official

    That independence matters — the gesture was yours first, arrived at on your own terms. The Baldessari parallel becomes resonant rather than derivative precisely because you didn't know.