11 planet of the arts volume 3 number 2 november { ARTROPOLIS THe summe@ wad came ROL fA... $Choss THE SEA The problem with — be: Wo 1 a oYpopows 15 Show two wi otter voice, THe — with viewm a, Ovp sailheus “Ss Hats need mos look at / as roy, { Fae had br me to sel ct awd age agetem ves from the res a fe try 7 (Cyn emem 0 er ts person ad vot! & all this pte: Ag aged gotes 26s Sittiw mn he = t ie Ga ent? dovets (kind of) S epecialh, of seakied 4 FANG pre fist ot te Fo oper 0 oF Och 2. ree fits “eis IRS SE asl CUS Bey ww, ma // 4) Lila ult fd hen Aeber 2 b £355 VbiNeES Aa He Mr aed, a 908d oe donk. / aie as erdigp 2 pe fog (on. 4) a 4 nese paled | dn Cah wa feeling a inte emberrased ama 2 m ranting “97 a us ows could stg capi sr yh For one itis be ahs there (Sq sUbslaui tial Ofirg » me fa shou ee firs thoug bts abot that He a oe cn ae Pig! aos 2 rue that it m Bee, a Frou Faas A io ares imples SOs ct hae hag ton fc favirgs to of i Sai y initial feeling byt as eae before, this os Ys tian Kiiow OF ex cbi/ent : eOoe ri Vameo oe Ui ae wom Alps Maier others tha rf cel une we art ommehHe 1a purpose wr ah ties) Ys L i é Te por nN a ee Ls ec xan atish st e) Heuth their % shoud Be) 8 _— or ten chlorts Tee oF Q showcese lr he tesponse Sas more posite ue {oP be two ayer “er at jest one euey year Rich Nelsen President Print maker THE DOE AND GALD W arslonga vita brevis Fal(l)siaff - Annual Faculty Exhibition - Charles H. Scott and Concourse Galleries. Sepember 25 to October 25 In the second part of King Henry IV, (Act 4, scene 3) Falstaff (get it?) posits ", .. So that skill in a weapon is nothing without sack, for that sets it a-work". Used as a preamble for the exhibition's press release, it perhaps unintentionally illustrates the basic problem with the show - tenure breeds complacency, and this manifests itself in the production of art. Fal(l)staff is easily divisible into the College parameters of fine art, design, and media. There are admirable cross- overs, including paintings by graphics instructors, and a large wood drawing by Bob Evermon (lithography and printmaking instructor), but the overall bearing of the exhibition is safe. One comment in the guest book attributed the lack of challenging work in Artropolis to the educational influence of ECCAD instructors on a generation of B.C. artists. There may be a grain of truth in that suggestion, but this does not consider faculty whose work is not shown. Conspicuous by their absence: fan Wallace, currently showing in Montreal and later this year at the VAG; Alan Wood, whose "Waterfalls" are occupying the Bau-Xi; and Ruth Beer, whose “Leaf Totem" greets visitors to Artropolis. Representative works by these three would have significantly strengthened Fal(l)staff. Furthermore, it is the work of instructors, mostly part-time, actively exhibiting in the public and private space outside ECCAD which accounts for the interesting and evciting work here. It is worth noting that Landon MacKenzie, Ron Eckert and Ken Wallace still managed to contribute despite current recent exhibitions. Fal(l)staff is bereft of sculpture and iif - logistics of transport and installation is the reason, that is disappointing. George Rammell's large pen and ink work, one assumes, Is a study for an installation or site-specific piece, but without such a notation must stand as a drawing alone.Likewise, Terrance Johnson's Fal(I)staff Tan Verchére "Steel Transporter 2": a well executed drawing, but one wonders if this will be developed into a 3D work. Even Mike Banwell's “Contemplating the Goddess #2", an enigmatic, psychological construction with a Jasper Johns appropriation, is hung on the wall contextually a “relief drawing" more than sculptural object. This is not to say art must be pigeon-holed into formalist definitions of sculpture/plinth or painting/frame. Rather, with works in contemporary installation, performance and alternate media blurring such definitions, examples of faculty work in these parameters would have enhanced the exhibition immeasurably. As mentioned, logistics is as poor an excuse as space - the entire 2nd floor and floorspace of the Concourse were barren. The media works in the show are further demarcated. The camera, both motion and still, functions here as recording eye and as actualized imagemaker.- David Rimmer's technically ° virtuous documentation of a Karen Jamieson dance performance, and Art Perry's “beautiful” recordings of Morroccan figures in the merchant landscape exemplify the former; Marion Penner Bancroft and Randy Bradley represent the latter: the camera as drawing tool, capturing constructed, appropriated, and/or manipulated images. The endemic unevenness and density of group shows is self-evident in the drawing and painting which comprise the bulk of Fal(i)staff. Furthermore, in the case of new faculty, particularly painting instructor Paul Hess, value judgements based on the viewing of one work are of little significance without consideration of past directions and creative processes. In the case of familiar faculty, Geoff Rees's "Not a Day for a Hat" may test some people unfamiliar with his marvelous notebooks, of which we have here, in a sense, an enlarged page torn out and pinned to the gallery wall. The works of Anna Wong, Ken Wallace and Steve Nelson are evidence to support the posit that the bulk of the most exciting work in Fal(l)staff comes from part-time instructors active in the public and private art worlds. The antagonist here would be Rick Williams, ‘whose drawings are always a highlight, ‘and whose exhibition history would stump most everyone. The exhibit has been qualified as a “sampler”. Members of the faculty association are not required to exhibit, although only instructors may show - this unfortunately pre-empts participation by studio assistants. The Charles H. Scott Gallery is obliged to provide annual exhibition space to the association which does little to explain or justify the expansion into the Concourse Gallery, described in the revised 87-88 prospectus as “an adaptable exhibition area of changing student shows." The recent review of the Concourse Committee seems to be counter to its mandate: a sudden nine-day allotment for fall term submissions, with a one week time limit on exhibits. Furthermore in the revised regulations effective 23 September 1987, "the committee will give preference to applications . . . which include enough work to utilize the entire space of the ground floor of the Concourse Gallery." The summer session student exhibit extended to 25 September, and Fal(|)staff to 25 October, fully one-quarter of the school year. In view of two shows in two months, with one consisting of 8 medium-size drawings and paintings, this proves hardly consistent with “providing a large number of students with an opportunity to present their works to the College community." Questions regarding curation of faculty exhibitions, eligibility, and participation should be addressed as should the lack of performance, Installation and 3-D works. Rather than existing as a mere "sampler", the faculty exhibition must exist to challenge and inspire students and future generations of B.C. artists, fulfilling this College's provincial mandate and perhaps in the future travelling to exhibition areas in ECCAD's Outreach cities. rs p 3 0 < Oo a 3 3 planet of ¢ number 2 "1 (kind of) vowpsreu 13 prions” with, ewig ey fel ene d ec We ee pa Ea ca te gry l p ary eee Shesk Pld ak gs Sieg ote ahiny tia? yhoighls and oe ony eatige God tgs fo Pao peed Salle ene cee roe ee? AS p et eet a a ee At eB ip Etat alge [s7 eS en Mice el? Subteceres 3 I ae aia rs a Sa a Be y i Te, Nee > ee , »& Sine , ars longa vita brevis Falta - Annual Faculty Exhibition - 1d. Concourse 25 to October 25 of King Henry IV, 3) Falstaff (get it?) posits ‘so that skill in a weapon is nothing without sack, for that sets it a-work". Used as a preamble for the exhibition's press it perhaps unintentionally illustrates the’ basic problem with the show - tenure breeds complacency, and this manifests itself in the production of art. “Fal()statt Is College asily divisible into the s of fine att, design, Instructors, and a large wood drawing by Bob Evermon (lithography and printmaking Instructor), but the ove Bearing of the exhibition Is safe. Ono comment in the guest book attributed the lack of challenging work in Artropolis to the educational influence of ECCAD Instructors on a generation of B.C. artists. ‘There may be a grain of truth in that ‘suggestion, but this does not consider faculty whose work Is not shown. Conspicuous by their absence: ying Representative works by these threo would have significantly strengthened Fal()staff. Furthermore, it is the work of Instructors, mostly part-time, activel exhibiting in the public and private space outside ECCAD which accounts for the Interesting and evciting work here. It Is worth noting that Landon MacKenzie, Ron Eckert and Ken Wallace still managed to {logistics of transport and installation is that Is disappointing. George je pen and ink work, one Is a study for an instaliation or specific piece, but without such a notation must stand as a drawing alone.Likewise, Terrance Johnson's Fal(l)staff lan Verehére 2": a well executed wonders if this will Goddess ‘an enigmatic, psychological construction with a Jasper Johns appropriation, is hung on the wall contextually a “relief drawing” more than sculptural object. This Is not to say art must be pigeon-holed into formalist definitions of sculpture/plinth or with works. In ion, performance media blurring such amples of faculty work in ‘S would have enhanced these paramet the exhibition immeasurably. As mentioned, logistics 1s as poor an excuse 8 space the entire 2nd floor and floorspace of the Concourse were barren. ‘Th media works In the show are domareated. The camera, both ording eye and Imagemai virtuous Jami Porry's recordings of Moroccan figures in the merchant landscape exemplify the former; Marion Ponner Bancroft and Randy Bradley opresent the latter: the camera as drawing tool, capturing construc appropriated, and/or manipulated Images. ‘The endemic unevenness and density of group shows Is self-evident in the drawing and painting which comprise the butk of Falystat Furthermore, in the bbased on the viewing of one work are of Uittle significance without consideration of past direction faculty, Geoff Reos's "Not a Day for a Hat” may test some people unfamiliar with fhis marvelous notebooks, of which we hhave here, In a sense, an enlarged page torn out and pinned to the gallery wall. ‘The works of Anna Wong, Ken Wai ‘and Steve Nelson are evidence to ‘support the posit that the bulk of the most exciting work in Fal()jstatt comes from part-time instructors active in the public and private art worlds. antagonist here would be Rick hose drawings are always a hig! ‘exhibition history would stump ". Members of the faculty association are not required to exhibit, although only instructors may show - this Unfortunately pre-empts participation by studio assistants. The Charles H. Scott Gallery Is obliged to provide annual exhibition space to the association which does litle to explain or justly the Ys ‘an adaptable oxhibition The recent review of the Concourse Committee seems to be counter to its mandate: a sudden nine-day allotment for fall term. submissions, with a one week time limit on exhibits. Furthe revi preferon ynough work to utilize the entire space of the ground floor of th view of two shows in two months, with ‘one consisting of 8 medium-size’ drawings and paintings, this proves hardly consistent with “providing a large number of students with an opportunity to present thelr works to the College community.” Questions regarding curation of faculty exhibitions, eligibility, ‘and participation should be addressed as should the lack of performanc Installation and 3-D works. Rath Inspire students and future generations: of B.C. artists, fulfilling this College's provincial mandate and perhaps in the future travelling to exhibition areas in ECCAD's Outreach cities.