two members of the selection committee to substitute these two pieces, in place of his own choice of work. He felt his chances of success were diminished by this advice, not enhanced. Rumours are running wild. For exam- ple, a number of people said that our win- ner, Neil Berecry, now an employee of the Vancouver Art Gallery, arranged private interviews during the selection process with Tom Hudson and Vera Frenkel to explain his work. Ethically this has an unsavoury odour, politically it is part of the game. It is an unsubstantiated claim until X can obtain statements from the people con- cerned. Rumour also has it that trade-offs were made between the institution in- volved. Why, people are asking, did the College have only one winner when we graduate so many, and UBC have two, when they graduate so few. Is our work so inferior? X has been faced with the problem of exposing what people feel, or suppressing it all. We are passing it on, but passing no judgments. Is politicking inherent to the art process, or does art transcend political gamesmanship? It is for you to decide. New directions It may not seem obvious to those who are new to the college, but a lot of changes are taking place. The people who are involved in making the administrative decisions are trying to create a new identity for the institution with the idea of a greater external social integrity. Although this may be good, it is the students, in- volved in personal evolution and growth who form the real character of the school. That evolution and growth is what is bound to be affected most by changes in curri- culum structure, and must be the sole consideration when these changes occur. For this reason it is important for the student body to be involved in the deci- sion-making process. Generally it seems that political action moves in tight and meaningless circles, but occasionally a common good can be reached if people can understand each other and work together. A new student council has been formed in an air of positive energy. We have representation on the Program Advisory Board, the Dean’s Committee, the Outreach Program and the Student Services Committee. As time goes on, the people involved in these committees will keep us in touch with what happens in the meetings and how it affects us. Also formed recently is a committee to save the fate of the Helen Pitt Gallery. They are currently planning programs to make more use of the space, as a place for social events and performances of various types. A lounge area will be made in the back room. Council will be meeting here on Wednesdays at 4:30 p.m. and everyone © is welcome. The Helen Pitt Gallery will re-open on Friday, October 13th with a show of stu- dent work from the previous year. The show will be juried on Tuesday, October 10th, so bring your pieces to the gallery by the day before. Rob Reid Foundations? Whose Foundations? Last year’s Foundation program con- sisted of a series of workshops. .Though many students found the going disorient- ing, they found the range of topics and explorations to be quite widespread. If one of the intentions was to loosen “stu- dents” from previous prejudices, then that was accomplished. The structure of the program encouraged the freedom to connect things together in all sorts of different ways. Much of this quality had to do with the constitution of the seven workshops, and the fact that virtually everyone found themselves involved with a new set of individuals each month. In some of those Foundation work- photography by Jamie Jenkins shops students were introduced to particu- lar artistic mediums: printmaking, thermo- plastics, graphic design, lithography, paint- ing, sculpture, you-name-it. As always, there was the mandatory art history class. What happened? Did members of the staff get together and decide to change the emphasis and structure of the program? Is it so that this year’s program gives students a better opportunity to grow in their own directions? One instructor puts it that “students are now more exposed to the idea of creating rather than to the technological aspects of creating.” What the change has resulted in is a four theme program. The first theme is an “objective” focus: the student looks at his: surroundings. In the second theme there is a “subjective” focus: examining how one perceives these surroundings, taking note of the differences in other students’ views. The third theme: ‘“com- munication”’, in the sense that the student considers the role of the artist in society. The fourth theme deals with the organi- zation, structure and research involved in actual work; one begins to use the resources inside and outside himself, becoming aware of the array of options. With the full exploration of these themes one begins the transition to second year studies. No one seems upset over the change of course emphasis. The concern lies with the change of procedure. In the present setup, four days are divided between work- shop classes and studio time. Wednesday is for Art History and the resource workshop. Throghout the year students will be ex- posed to a variety of instructors, but always remaining with the same group of people one began the year with. What is being missed by staying with the same section of students all year? Are other options open to Foundation students, and if so, what are they? Andrea Landry Heard any trees lately? It’s Tuesday morning in the wilder- ness. Three arrive by truck, one by seaplane (untrustworthy account), and the rest by water taxi. By 11 a.m. no one can be found. It is an Alternative Studies class called ‘‘Impro- visation and Performance.” The object P.M. TRAPP right now: explore your environment, make notes on thoughts and feelings; select an area, explore further and produce something for the group to view. The base is a house by the water across from Deep Cove. It is accessible by a two mile dirt road off the Barnet Highway or by water. All arrive back by 1:30 p.m. for lunch, today prepared by a neighbour (poppy seed bread is excellent with lasagna). Out again by 2:30 to see what we’ve done. We Amanita Muscaria Fly Agaric Induces slight stomach cramps and hallucinations and Coma,Users have been known to wake up in insane asylums. Caution in large doses. file through the doorway of a dismantled truck which blocks the road. No explan- ation. Down the road and into the bush for about a quarter of a mile. We come upon a large oval structure (monument?), almost pyramidical, about six yards high, made of branches and tied together at the top. From this a large bright red phallic-like object hangs by a rope. The entire piece is stark in the surrounding greenery and wild. Photographs taken, some discussion, and we proceed back to the road. Then into the bush again for a half mile in ano- ther direction. We arrive at an arrangement of more branches, this time lodged vertically in the ground, two yards in height, each standing separately. Nearby is a row of logs, leaning against a small ridge, arranged so as to define the shape of its surface. Beyond this, the ground plunges abruptly down- ward. Part of the ridge has eroded so that light passes through the logs toward us from beyond the edge. It is revealed that an effect has been lost by the now hidden sun. Back to the road toward the house, a short detour to see a small excavation in a hillside. Dirt removed, carefully placed elsewhere and rocks arranged beside the holes. Intention: environmental art with- out imposition. Does it work? On to ano- ther piece. Past a stream and around a hill. In the cavity of a dying tree a ceremony has been performed. Ashes, fresh earth, seedlings greet us from within. We have missed the incense and incantations but are now witnessing the beginning of a new life inside the old shell. On returning to the house, a body slips on a rock and falls in the stream. Painful. We are informed that next week we must direct ourselves more effectively. Jamie Klyman two members of the selection committee to substitute these two pieces, in place of his own choice of work. He felt his chances of success were diminished by this advice, not enhanced. Rumours are running wild. For exam- ple, a number of people said that our win: ner, Neil Berecry, now an employee of the Vancouver Art Gallery, arranged private interviews during the selection process with, Tom Hudson and Vera Frenkel to explain, his work. Ethically this has an unsavoury odour, politically it is part of the game. It is an ‘unsubstantiated claim until X can ‘obtain statements from the people con: ‘cerned, Rumour also has it that tradeoffs were made between the institution in volved. Why, people are asking, did the College have only one winner when we graduate so many, and UBC have two, ‘when they graduate so few. Is our work so inferior? X has been faced with the problem of exposing what people feel, or suppressing it all. We are passing it on, but pa judgments. Is politicking inherent to the Aart process, or does art transcend political gamesmanship? It is for you to decide. New directions It may not seem obvious to those who are new to the college, but a lot of changes fare taking place. ‘The people who are involved in making the administrative decisions are trying to create a new identity for the institution with the idea of a ‘greater external social integrity. Although this may be good, it is the students, i volved in personal evolution and growth ‘who form the real character of the school. ‘That evolution and growth is what isbound to be affected most by changes in curr culum structure, and must be the sole consideration when these changes occur. For this reason it is important for the student body to be involved in the deci sion-making process. Generally it seems that political action moves in tight and meaningless circles, but ‘occasionally a common good can be reached if people can understand each other and work together. A new student council has been formed in an ait of positive energy. We have representation on the Program Advisory Board, the Dean's Committee, the Outreach Program and the Student Services Committee. As time goes on, the people involved in these committees will keep us in touch with what happens in the ‘meetings and how it affects us. ‘Also formed recently is a com to save the fate of the Helen Pitt Gallery. They are currently planning programs to make more use of the space, a8 a place for social events and performances of various types. A lounge area will be made in the back room. Council will be meeting here fon Wednesdays at 4:30 pam. and everyone is welcome. ‘The Helen Pitt Gallery will re-open on Friday, October 15th with a show of stu dent work from the previous year. The show will be juried on Tuesday, October 10th, so bring your pieces to the gallery by the day before, Rob Reid Foundations? Whose Foundations? Last year's Foundation program con. sisted of series of workshops. ‘Though many students found the going disorient- ing, they found the range of topics and explorations to be quite widespread. If fone of the intentions was to loosen “stu- dents” from previous prejudices, then that was accomplished. ‘The structure of the program encouraged the freedom to connect things together in all sorts of different ways. Much of this quality had to do with the constitution of the seven, workshops, and the fact that virtually everyone found themselves involved with a new set of individuals each month. In some of those Foundation work: photos phy by Jamie Jenkins shops students were introduced to particu- Jar artistic mediums: printmaking, thermo- plastics, graphic design, lithography, paint- ing, sculpture, you-namet. As always, there was the mandatory art history class. What happened? Did members of the staff get together and decide to change the emphasis and structure of the program? Is it s0 that this year's program gives students a better opportunity to grow in their own directions? One instructor puts it that “students are now more exposed to the idea of creating rather than to the technological aspects of creating.” What the change has resulted in is a four theme program. The first theme is an “objective” focus: the student looks at his surroundings. In the second theme there is a “subjective” focus: examining how one perceives these surroundings, taking note of the differences in other students’ views. ‘The third theme: “com: munication”, in the sense that the student considers the role of the artist in society. ‘The fourth theme deals with the organi zation, structure and research involved in actual work; one begins to use the resources inside and outside himself, becoming aware of the array of options. With the full exploration of these themes one begins the transition to second year studies, No one seems upset over the change of course emphasis. The concem lies with the change of procedure. In the present setup, four days are divided between work. shop classes and studio time. Wednesday is for Art History and the resource workshop. ‘Throghout the year students will be ex- posed to a variety of instructors, but always remaining with the same group of people one began the year with. What is being missed by staying with the same section of students all year? Are other ‘options open to Foundation students, and if so, what are they? cate, Heard any trees lately? It’s Tuesday moming in the wilder: ness. Three arrive by truck, one by seaplane (untrustworthy account), and the rest by By 11 am. no one can be found. Itis ‘an Alternative Studies class called “Impro- visation and Performance.” The object, right now: explore your environment, ‘make notes on thoughts and feelings; select, fan area, explore further and produce something for the group to view. "The base is a house by the water across from Deep Cove. It is accessible by a two rile dirt road off the Barnet Highway or by water. All arive back by 1:30 pam. for lunch, today prepared by a neighbour (poppy, seed bread is excellent with lasagna). Out again by 2:30 to see what we've done. We Amanita Muscaria Fly Agaric Tivos sight stomech cramps and hallucinations ‘nd Coma. sors have bean “known to wake up in insane asylums. Caution in large doses. file through the doorway of a dismantled truck which blocks the road. No explan- ation ‘Down the road and into the bush for about a quarter of a mile. We come upon a large oval structure (monument?), almost pyramidical, about six yards high, made of branches and tied together at the top. From this a large bright red phalliclike ‘object hangs by a rope. The entire piece is stark in the surrounding greenery and wild, Photographs taken, some discussion, and we proceed back to the road. ‘Then into the bush again for a half mile in ano- ther direetion. We arrive at an arrangement of more branches, this time lodged vertically in the ‘ground, two yards in height, each standing Separately. Nearby is a row of logs, leaning ‘aguinst a small ridge, arranged so as to define the shape of its surface. Beyond this, the ground plunges abruptly down- ward. Part of the ridge has eroded so that Tight ‘passes through the logs toward us from beyond the edge. It is revealed that an effect has been lost by the now hidden Back to the road toward the house, a short detour to sce a small excavation in a hillside. Dirt removed, carefully placed elsewhere and rocks arranged beside the holes. Intention: environmental art with- ‘ut imposition. Does it work? On to ano- ther piece. Past a stream and around a hill. In the cavity of a dying tree a ceremony has been. performed. Ashes, fresh carth, seedlings grect us from within. We have ‘missed the incense and incantations but are now witnessing the beginning of a new life inside the old shel. (On returning to the house, a body slips ‘on a rock and falls in the stream. Painful. We are informed that next week we must direct ourselves_more effectively Jamie Klyman