PLANET OF THE ARTS You.241 4

Planet of the Arts — Before we talk about your role as President,
I’m sure the students would be interested in knowing a bit more
about your work. How would you describe your art?

Alan Barkley — I’ve been working for about twenty years as a
sculptor. I work primarily in metal and wood, usually one or the
other at different times. I studied in England and I also worked as
an assistant to a sculptor in Canada in the ’60’s and so I have a vari-
ety of experience in and training in sculpture. I’ve shown work in
Europe and Canada and the States. I did an architectural commis-
sion about twenty years ago as a young artist, but the main venue
has been galleries and
museums. The reason I
mention this is that in the
last few years I’ve become
more interested in how
sculpture relates to public
spaces, the public voice as
opposed to the more com-
mon, private voice of 20th
century abstract sculpture.
How to deal with com-
municability or publicness
without reverting to
straighforward coven-
tional figurative sculpture
— that’s the task as I see it.
Last year at York Univer-
sity I completed a joint
project with my wife: a
large metal and wood por-
trait head which has a few
visual and mental twists to
it. (Portrait Head: Plan and
Elevation). I also have
done some fairly large wall
reliefs in wood and I would
like to do some more in
metal. I would say my
work has always been
abstract, geometrical or
other forms that aren’t rep-
resentational. In the last
few years I’ve become
more interested in playing
around with shapes that
have some recognizability
to them. =

P. of A. — Do: you have
any plans for exhibitions in
Vancouver?

AB — No, I have nothing
lined up at the moment but
I will be carrying on with
my work. I have to do the
usual logistical searches
for studio space and get
that organized. The prior-
ity is really getting this job
working and getting my-
self oriented to the College
and to the city.

P. of A. — Would it be possible to do a slide presentation if stu-
dents were interested in seeing your work?

AB —I’d like to do something. Whether the right format is to doa
public presentation, or fit myself into an existing Visiting Artist
Series of lectures, I haven’t decided.

P. of A. — You’ ve mentioned working with different artists. Who
would you say are some of your stronger influences?

AB — Different people at different times. When I first started,
modernist sculptors like David Smith and Anthony Caro were
very strong influences. As I’ ve gotten older the influences are less
from any one person and more from different ideas and attitudes.
I’m quite interested in Rodin, for example, in particular his ap-
proach to sculpture and the way in which he revolutionized public
sculpture for his time. Also, the relationship of idea to experience
is something that I’ve re-evaluated over time and have become
more interested in the role of the idea or the concept in a sculpture
than when first started out.

P. of A. — Do you think your ideas can only be manifested
through sculpture or do you find yourself branching out into other
media?

AB — There was one occasion when the obvious thing was to
move the sculpture into another medium and I made a video which
used architectural forms in the landscape as a substitute for mak-
ing those forms myself. I’ve always been interested in film but no
other clear ideas have come my way since that time. I don’t pre-
clude that but 3 dimensional space and the way in which one un-
derstands through an encounter with objects in space is really the
theme that pre-occupies me.

P. of A. — What would you say constitutes a good art college? (In
twenty words or less.)

AB — I think running any creative school is a very delicate balance
of many factors. It’s different than running a university where the
teaching project is about rationally and logically assessing infor-
mation and presenting it to students in order that they understand
clearly the work of others in various fields. Ina creative institution

AS

ALAN
BARKLEY

you have to balance the information that you’re giving students
with their own opportunity to encounter amd make ‘stuff’ first
hand. Ina philosophy department people don’t usually ‘do’ phi-
losophy until much later; in an art college, you want people not
only to study art but to do art.

In other words, it’s a difficult balancing act between the intel- '

lectual and the experiential components, between a curriculum
which is structured and those parts of the curriculum which allow
people to explore and find out for themselves. I don’t think there’s
a prescription for how to do it, but I know that you have to be
aware of both. There are two major models for art institutions —
one is the diploma where studio work is the high majority of
course work; the other is a more recent creation, the B.F.A.,
where between 30% and 40% of the work is acadefnhic.

P. of A. — Do you think there is the option of choosing whether to
do a degree or diploma program or would that mean vast changes
in facilities and faculty?

AB — There would be changes required. Time would be given
up from studio work to pursue courses in liberal art and science.
There would be a change in focus to a more broad -based educa-
tion. I don’t believe the College would have to provide all the
academic courses itself — there are local universities which could
be used.

P. of A. — So, it is a possibility then to have a degree program?

AB — Well, I’m certainly going to explore it actively. I want to
find out more about how the province works, how the ministry
feels about it, how other institutions feel about us. I will take the
approach that we want to look into it and see what are our options
as opposed to making a decision now.

P. of A. —\I think another concern of the students is overcrowd-
ing. I understand that there are some changes that will be going on
at the College this year. Can you elaborate on that?

AB — We have found a reasonably permanent solution to some of
the space problems. It will provide a consolidation of the painting

-spaces, taking the students who are housed in Granville Island and

those that were housed last year on Third Ave. and putting them in

See Virginia Achtem

one space together, hopefully by mid-October. We need now to
te-assess the Granville Island facility, a space committe that will
involve the two Directors and others who will assess the needs of
various departments. We will try to come up with a plan that will
re-allocate some of the vacated spaces to other departments.

P. of A. — Any rumours as to which departments will utilize the
space left by the painting department?

AB — Everyone has ideas and there are a lots of schemes and
plans, and many felt needs by different areas. There is cer'-
tainly overcrowding in 3D;
and we have a library that
can’t buy any more books
because they have no more
shelves. We have a com-
puter facility which is ex-
panding because of the ac-
quisition of more equip-
ment, and we have an
audio-visual facility
operating out of a closet.
We have lots of those kinds
of problems of  over-
crowding. The solution we
come up with won’t be
magical, but we will try to
come up with the best use
of the space that we can.
P. of A. — How do you
think that will affect the
unity of the school? Do
you thing that in separating
the departments it becomes
more complicated to work
in an_ inter-disciplinary
fashion?

AB — | don’t think it will
be too much of a problem.
I understand the desire to
be in a consolidated space
and that was possible when
the student population was
around 450 — 500. Unless’
we go back to that number,
which is unlikely, we can’t
exist in the present
114,000 square feet. A
possibility that’s been
talked about is building
onto this structure, but the
capital costs are very high
and it’s unlikely that the
government will spend
seven million dollars right
now for that project. What
we've tried to do is find a
building that gives us a sol-
ution to our problems now
but which doesn’t lock us
in forever, that gives us
enough breathing space
that we can make some
reasonable plans.

We found a building which is located close to the island, on Fir
and Firstand we’ re hoping that this closeness will keep the two fa-
cilities working well together. We will probably have some park-
ing around the new building that people from Granville Island can
use and walk down to the main building. At the moment we also
plan to schedule drawing classes up there. There are also tentative
plans for a school store in the new building which would fur ther
facilitate interaction between the two areas. I know that you can
have two departments in the same building that don’t talk to each |
other, so sometimes a common spaces isn’t the only thing that
glues people together. It’s other activities and it’s the sense of
common purpose and willingness on the part of people in both
campuses to do that extra bit to ensure that everyone feels part of
the same operation.

N. Singer

P. of A. — You were quoted as saying that “direct student contact
is an essential component to the sensitive management of an
academic institution”. Well, how do you plan to make yourself
more accessible to students?

AB — (laughs) Sounds like a public relations statement that’s attri-
buted to me. It’s probably not a phrase that would come out in nor-
mal conversation. I guess that what that rather pompous quotation
suggests is really an attitude that I have of wandering around and
trying to make myself available as I can to everybody. There are
limits to that, but there are certain gestures that I like to make. I
like to teach at least a course a semester and I'll do that this fall. I
can’t work with all the students, but I can with some students and
can get to know the problems that they experience — on the shop
floor so to speak. Another approach is simply trying to do small
things like shift my office from where it was before at the end of
the corridor in the administrative unit, out into the former Gallery
Office in order to have an office that’s more immediately available
to faculty and students.

I’m also thinking of ways that I might schedule a block of time,
a morning a week, in which student could just come in and talk to
me. I can find out about what their concerns are, and see if we can
solve problems as they arise.

P. of A. —Is there anything else you would like to add?

AB — I'm happy to be here. xt
Photo p.5

~
PLANET oF ME ATS woL.241 “f

Planet of the Arts — Before we tlk about your role as President,

Pm sure the students woul be interested in knowing a bit more
about your work. How would you desribe your art?

‘Alan Barkley — I've been working for about twenty years as a
Sculptor. I work primarily in metal and wood, usually One or the
‘other at different times, I studied in England and Yalso worked as
an ssistanttoa sculptor in Canada in the '60's and so Thavea va
‘ety of experience in and taining insculpeure. I've shown workin
Europe and Canada and the States. [did an architectural commis-
sion about twenty years ago asa young artist, but the main venue
thas been galleries and
museums, The reason I
‘mention this is that in the
last few years I've become
more interested in how
Sculpture relates t public
Spaces, the public voice as
‘opposed tothe more com
mon, private voice of 20th
‘century abstract seulptre
How to. deal with com
‘municabilty or publieness
without reverting to
Straighforward coven:
tional figurative sculpture
—thatsthe taskasseeit
Last yeat at York Univer:
sity T completed a joint
project with my wife: a
large metal and wood por
trait head hich has afew
visual and mental twists (0
it: Portrait Head: Plan and
Elevation). 1 also. have
done some Fail large wall
fin wood and | would
Tike to do some more in
metal. 1 would say. my
work has allways been
abstract, geometical_ or
‘other forms that aren't
resentatonal
few years I've become
‘more interested in playing
around with shapes. that
hhave some recognizability
tothem

P. of A. — Do you have
any plans for exhibitions in
Vancouver?

AB — No, Uhave nothing
lined up atthe moment but
will be carrying on with
my work, Ihave to do the
usual logistical searches
for studio space and get
that organized, The prior
is really geting this job
‘working and getting. my
self oriented tothe College
and tothe city
P. of A. — Would it be possible todo a side presentation if tu-
‘dens were interested in seeing your Work?

AB —1' like todo somethi
Public presentation or fit myself into an existing Vis
Series of lectures, Thaven't decided

g. Whether the right format isto doa
ng Ait

P. of A. You've mentioned working with different artists. Who
‘would you say are some of your stronger influences?

‘AB — Different people at diferent mes. When I first started,
modernist sculptors like David Smith and Anthony Caro were
‘ery strong influences. As I've gotten older the influences are less
from any one person and more from different. ideas and atitdes.
Fm quite interested in Rodin, for example, in particular his ap
proach to sculpture andthe way in which he revolutionized public
Sculpture for his time. Also, the relationship of ila to experience
is something that I've re-evaluated overtime and have become
‘more interested inthe role ofthe idea orth concept ina seulpture
than when I first started out

P. of A. — Do you think your ideas can only be manifested
‘through sculpture or do you find yourself ranching out into other
media?

‘AB — There was one occasion when the obvious thing was to
‘move the sculpture into another medium and | made a video which
tsed architectural forms inthe landscape a a substitute for mak
ing those forms myself. I've always been intrested infil but no
other clear ideas have come my way since that ime. I Jon'tpre=
clude that bt 3 dimensional space and the way in which one un-
“erstands through an encounter with object in space is really the
theme that pre-oecupies me

P. of A. —What would you say constitutes a good art college? (In
‘wenty words oes.)

‘AB— think running any creative school isa very delicate lance
‘of many factors. I's different than running a university where the
teaching project is about rationally and logically assessing infor:
mation and presenting it to student in order that they understand
‘larly the work of others it various fields. Inacreative institution

ALAN
BARKLEY

you have to balance the information that you're giving students
‘with their own opportunity to encounter amd make “stu” first
‘hand. n-a philosophy department people don't usually “do” pl
Tosophy until much later; in an ant college, you want people not
‘only to study art but to doa

In other words, it's difficult balaneing act between the intel
lectual and the experiential component, between a curriculum
‘which is stractured and thse parts ofthe curriculum which allow
‘people to explore and find out fr themselves. don't think there's
§ prescription for how to doit, but T know that you have t be
aware of both, There are two major models for at institutions
‘one isthe diploma where studio work isthe high majority of
‘course work; the other is a more recent creation, the B.F.A
‘where between 30% and 40% ofthe work i acadefhic

of. —Do you think there isthe option of choosing whether t0
«doa degree or diploma program or would that mean vast changes
in facilities and faulty?

AB — There would be changes required, Time would be given
‘up from studio work to pursue courses in liberal art and science
‘There would bea change in focus to a more broad-based educa
tion, I don’t believe the College would have to provide all the
academic courses itself — there are local universities which could
be used,

ofA. ~So, itis a possiblity then to havea degree program?

‘AB — Well I'm cerinly going to explore it actively. I want to
find out more about how the province works, how the ministry
feels about it, how other institutions Fel aboutus. T wil take the
approach that we want to Took into it and see what ae our options
a8 opposed to making a decision now.

. of A. — think another concer ofthe students is overcrowd.
ing. [understand that there are some changes that willbe going 00
at the College this year. Can you elaborate on that?

‘AB —We have founda reasonably permanent solution to some of
the space problems. It will provide a consolidation ofthe painting
spaces, taking the students who are housed in Granville sland and
those that were housed lst yearon Third Ave. and pting them in

‘one space together, hopefully by mid-October. We need now to
re-assess the Granville Island facility, a space committe that wi
involve the two Directors and others who will asess the needs of
various departments. We will ry to come up with a plan that will
reallocate some ofthe vacated spaces to other departments.

P. of A. — Any rumours as to which departments will lize the
space left by the painting department?

‘AB — Everyone has ideas and there are Tots of schemes and.
plans, and many felt needs by different areas. There is cet
tainly overcrowding in 3D;
and we havea library that
can't buy any more books
because they have no more
shelves. We have a com-
puter facility whieh is ex-
panding because of the ac-
uistion of more equip.
‘ment, and we have an
adiowvisual facility
operating out of a close.
Wehavelotsof those kinds
of problems of over:
crowding. Te solution we
come up with won't be
‘magical, but we will try to
‘come up with the best use
‘ofthe space that we ea
P. of A. — How do you
think that will affet the
tunity of the school? Do
you thing thatin separating
the departmentsitbecomes
‘more complicated to work
in an. inter-diseiplinary
Fashion?
AB "I don’t think twit
be too much of a problem.
T understand the desire to
be in a consolidated space
and that was possible when
the student population was
round 450500, Unless
‘we goback to that number,
‘which is unlikely, we ean’
exist inthe present
114,000" square feet. A
possibilty that's been
talked about is building
‘onto this structre, but the
‘pital costs are very high
and it's unlikely thatthe
government will spend
‘even milion dollars right,
‘now for that project. What
we've tried to do is find
ives usasol
ution 1 our problems now
but which doesn’t lock us
in forever, that gives us
‘enough breathing space
& that we can make some
reasonable plans
We found a building which is located close tothe island, on Fir
and Fisyand we're hoping that tis closeness will kep the (Wo fa
Cities working well together, We will probably have some park
ing around the new buildin that people trom Granville Island ean
tse and walk down tothe main building. At the moment we also
plan to schedule drawing clases up there. There are also tentative
plans fora schoo! store in the new building which would fue ther
facilitate iteration between the two areas. T know that you can
have two departments inthe same building that don't talk to each
‘ther, s0 sometimes a common spaces isnt the only thing that
tlues people together Is other activities and it's the sense of
‘common purpose and willingness on the part of people in both
‘campuses to do that extra bit to ensure that everyone feels par of

is an essential component fo the sensitive management of an
aeademie institution”, Well, how do you plan to makeyoursl
‘more accessible 1 students?

‘AB — (aughs) Sounds lke a public relation statement that’s at
buted to me. I's probably nota phrase that would come out in nor
‘mal conversation guess that what that rather pompous quotation
suggests i really an attitude that [have of wandering around and.
trying t make myself available as can to everybody. There are
limits to that, but there are certain gestures that I like to make. 1
east a course a semester and Il do tat this fal. 1

‘all the students, but I ean with some students and
‘can get to know the problems that they experience — onthe shop
floor so t speak. Another approach is simply tying to do small
things like shift my’ office fom where it was before atthe end of
the corridor in the administrative unit, out into the forme Gallery
(Office in order to have an office that's more immediately available
to faculty and students,

Pm also thinking of ways that might schedule ablock of
a momning 2 week, in which student cou i
‘me, [ea find out about what their cone
‘solve problems as they arise

P. of A. —Isthere anything else you would lke to add?
AB—Vmhappy tobe here. xg.
Photo pS