DEAR MLE The sheer exasperation of trying to find a solution to the ills of Emily Carr College of Art and Design leads to an ob- by Lyle Wilson vious conclusion: that “communications” remains a large . part of the problem. Since being a ‘student’ is a transient ex- perience the solution for good communications rests mainly with the ‘constants’; the administration and faculty. It is very clear that there are faculty members who care about their students and courses. What is equally clear is that there are faculty members and administration types who put their personal careers and goals in front of their teaching and administrative responsibilities. For the salaries these people recieve, the balance should be clearly in favour of the students by a country mile. The leadership shown by ad- ministrators as well as instructors is most noticable by its absence. The most dramatic change in which the old Vancouver School of Art became the current Emily Carr College of Art and Design involved the amalgamation of the three separate entities of V.S.A. under one roof. It was a 5.5 million dol- lar roof which altered the ‘Westex Manufacturing Build- ing“ into E.C.C.A.D. The interaction between staff, facul- ty and students was a primary goal. That vision was befit- ting of a cultural and artistic nerve-centre of Canada. The promise implied by this facility has largely been un- fulfilled. A big part of the solution to the promise lies some- where deep in the bowels of the administrative power struc- ture. A major symptom of the problems is the gap which exists in the relationships of this school; instructor-student, instructor-administrator, instructor-instructor, and student- administrator. There are some very valid comparisons between the “school spirit” and one of Emily Carr’s gloomier paintings. One explanation suggests the lack of school enthusiasm is because of the inherent nature of artists resisting any at- tempt at “collectivism”. Simply put, artists like to do their own thing. I believe the administrative lack of communica- tions has stifled student growth and the resulting gloom dominates the school spirit. In researching the history of the Art School I was struck by the level of spirit which was pre- sent when the school was known as the Vancouver School of Art. Perhaps this was due to the fact that they had to work harder in order to communicate. The one roof was supposed to make communications easier but the different entities seem to take the physical amalgamation as a solution onto itself and gave up working to communicate. Listening to students reinforces the fact of students being too intimidated during the foundation years to investigate the various school departments on their own. Again I see it as another communicative breakdown. The school has be- come an ‘end in itself’ and can be best seen by comparing the honest simplicity of a hand-printed 1921-22 school calendar with technical slickness of the 1987—88 version. In my view I see an out-of-touch administration champion- ing the cause of the ‘gimmicky’ 3D photographs (complete with glasses) over ‘substance’. The substance of the school is also questioned when studying the diplomas given students who graduate. The changes of the format begs the question of “Why did they change it?” On the surface it appears the diploma design was not satisfactory. However the act of changing the for- mat of the diploma implies a dissatisfaction with the image of the school and its functions. At any rate, the readers can judge whether that assumption is valid. In looking at the changes the diploma has undergone I believe this institution is still desperately seeking an identity and feels quite un- comfortable in its instability. A most interesting phenomenon occurs when graduates receive their diploma from E.C.C.A.D. They treat them in ‘a manner of irrelevance which borders on complete disdain. In trying to get original diplomas | can state, safely, that they were mostly ‘non-displayed’. One was behind a door, the other two had to be ferretted out from half-remembered storage spaces. The reasons were unanimous for this casu- alness. It wasn’t the diploma which really counted; rather the portfolio and the “experience” of art school were more important. A “diploma” is not a recognized commodity in the sense a “degree” is. It left me thinking of a suitable place to display my own. When discussing the callousness of casualness it be- comes impossible to leave out the Board of Directors of E.C.C.A.D. Their last meeting sounded like the Socred caucus rather than an “art related body”. The “Era of Re- straint” and the “Excellence in Education” gobbly-gook was echoed by the chairperson. It was upsetting to note that the administration members gave no response on the issues of “Restraint” and the “Excellence in Education Fund”. The devastation which one caused and the cynical empty ges- ture as a response, richly deserved some comment. By their public silence the administration lent credence to the politi- cal policies which lay waste to the artistic content which the institution of E.C.C.A.D. supposedly nurtures. Particu- larly galling was the board member who broke her arm pat- ting herself on the back because she flew in from Victoria. She should save such displays of self-gratification for an “in-camera” session. I say this because the room was filled with people who sleep, eat and breath “ART”. Such people often go without the basic necessities in order to sustain, improve and practice “ART-MAKING”. THE VANCOUVER BOARD of SCHOOL TRUSTEES ELEMENTARY DIPLOMA This Diploma is awarded to . dem MeleTCsh on the satisfactory completion of the Two Years General Course comprising the following subjects DRAWING :°: : DESIGN & COLOUR PAINTING : : : COMMERCIAL ART COMPOSITION : :': : MODELLING HISTORY OF ART & ELECTIVES. oni fuer DIRECTOR @ Way 140i ae The following is a quotation from a predecessor of this newspaper which was called “X”. (Vol. 1, No.7, 28 Nov. °78): “On November | the provincial government approved just over 5.5 million dollars for the permanent location of E.C.C.A.D. For those who feel the present college looks half like a hospital and half like a garbage dump, hopefully there will be a change. . . With the school brought to- gether in one building we can expect a real cross-polli- nation of thoughts and technique.” That expectation has fallen flat. One bright spot has been the initiative who believe that this school needs a “com- munication device”. Something which provides direct ac- cess to the student body. I tip my hat to the people of The Planet of the Arts. | won’t do the same for the administra- tion who’s attitude is summed up by the tacit approval to highlight Tom Hudson’s Childrens Art Exhibit over the “1986 Graduation Show”. A bitter pill to swallow since the school sought to distance themselves from the “Expo Cir- cus”. It signals a new era of “politics and art”. In light of that we should have another change of the graduation dip- loma in which the “Expo 86” logo is featured in Socred col- ours. I’m quite sure the government-appointed “Board of Directors” should break all their arms patting themselves on the back. so RG TS PAGE NiINe PLANET oF THE ARTS APRIL, (986 SRINESE SHALLOWSCOPE Za 4 con ke, se bby \ or ta SD Leg! 0s b y Wf x : 4 i 4 Lg eas, The year of the [aa LAVA LAMP — You are constantly changing your image. Tend to be up on your television. AUTOMATEDSUSHI = — Youare the epitome of cool BAR rawness. Something remotely fishy about you though. APACHE TIE —Constricting nature can : be apain in the neck. GARFIELD ON — you tend towards animated DASHBOARD altars. You hate Mondays and love lasagne, soft rock and Stephen King. SPIROGRAPH —Tend towards repetition and geometric forms in your life. Round and round your life goes, becoming progres- Z sively more complex. PUKA SHELL — Milky white exterior has NECKLACE holes in it. Not compatible with Apache Ties. TOASTER OVEN — You appear useful and multifuctional and efficient but really you have only one function. QUADROPHONIC —More is not necessarily HI-FI better ETCH-A-SKETCH — Tend to square off the curves in your life. Inversion will purge you. BONELESS — You are not what you seem. RIBSHAPED You’ ve been through the mill, PROCESSED however and have changed PORK PATTY somewhat. DIET SOFT DRINK — You give the illusion of benefit but you know something simpler and free could supplant you. TELEVISION — Put your hand up to the T.V. EVANGELIST screen, and pray with me to rid you of those demon headache.spirits. . . mtg, = (MORES aio > PA Pec 5 se So? <2, ite 4 / Mt eK Fre 4 x ‘ * Btn, mee “Oy 7 ; : Romawes ow | fapey Cor i as THE re [arm | saan gests es, PRE = , croageame | oN ref of oF Bt wo | i wv Saw" = 29 / Por at THESIS Voie! = / \ \ ON y 5 oes ee Sees Seas ye lism : \ NS ( \ er ot Bae Pes © ag f Cre oo eee \) mS A re) aie Pa i din nc73 Pe eo = it ee ~~ 2 HERE LIkE TKIS agree é =— WIS «Lv. & FOUNDATION FORUM Ian Verchere I had hoped to write a big article exploring the reason why only 39 of roughly 130 Foundation students bothered to apply for the Forum/Scholarship shows. After talking with several of my fellow first year students, it became ap- parent that a variety of woeful and despairing sagas, and tales of personal and financial crises was not about to man- ifest itself into a Pulitzer Prize. winning exposé. It seems that apart from one “I applied, but forgot to get my slides in on time.” the-pat answer was “I didn’t think I'd be selected.” (. . . “good enough”, “wouldn’t win”, etc.) Whether or not you would be selected is unimportant. It’s the not trying that’s inexcusable. The things we learn at this school are not limited to defined hours and specific fac- ulty, but are incorporated throughout the whole Foundation structure. If, as the statistics indicate, only one in ten of us budding artists will end up making a career of it, then we should not be neglecting the inherent lessons which are built into the competitive nature of scholarship and show competitions. Even at this early stage, the habits of keeping deadlines, meeting the demands of your workload, and competing for shows and scholarships on the basis of pre- sentation and documentation should be given the same con- sideration as those of the studio. Pace ive PLANET oF THE ARTS _APRUL. (966, DEAR MLE ‘The sheer exasperation of trying to find a solution to the ills of Emily Carr College of Art and Design leads to an ob- by Lyle Wilson vious conclusion: that “communications” remains a large part ofthe problem. Since beinga ‘student’ isa transient ex- perience the solution for good communications est mainly with the ‘constants’ the administration and faculty. It is very clear that there are faculty members who eare about their students and courses. What is equally clear is that there are faculty members and administration types who put their personal careers and goals in front oftheir teaching and administrative responsibilities. For the salaries these people recieve, the balance should be cleaey in favour of the students by a country mile. The leadership shown by ad- ministrator as well as instructors is most noticable by its absence. ‘The most dramatic change in which the old Vancouver ‘School of Art became the current Emily Carr College of Art and Design involved the amalgamation ofthe three separate ‘entities of V.S.A. under one roof. It was a 5.5 million dol- lar roof which altered the ‘Westex Manufacturing Build- ing" into E.C.C.A.D. The interaction between staf, facul- ty and students was a primary goal. That vision was befit- ting of a cultural and artistic nerve-cente of Canada ‘The promise implied by tis facility has largely been un- fulfilled. A big part of the solution tothe promise lies some- ‘where deep in the bowels ofthe administrative power struc- ture, A major symptom of the problems isthe gap which ‘exists inthe relationships of this schoo; instractor-student, instructor-adminstrator, instructor-instructor, and student. administrator. There are some very valid comparisons between the “school spirit" and one of Emily Car's gloomier paintings. One explanation suggests the lack of school enthusiasm is because of the inherent nature of artists resisting any at tempt at “collectivism. Simply put, artist like to do their own thing. I believe the administrative lack of communica- tions has stifled student growth and the resulting gloom ‘dominates the schoo! sprit In researching the history ofthe [Art School I was struck by the evel of sprit which was pre- sent when the school was known asthe Vancouver Schoo! ‘of Art Perhaps this was due othe fact that they had to work harder in order to communicate. The one roof was supposed to make communications easier but the different entities seem to take the physical amalgamation asa solution onto itself and gave up working to communicate. Listening to students reinforces the facto students being too intimidated during the foundation years to investigate the various school departments onthe own. Again I ee it as another communicative breakdown. The school has be- ‘come an ‘end i itself and can be best seen by comparing the honest simplicity of a hand-printed 1921-22 school calendar with technical sickness ofthe 1987—88 version. In my view I see an out-of-touch administration champion- ing the eause ofthe gimmicky’ 3D photographs (complete With lasses) over “substance” ‘The substance of the school is also questioned when studying the diplomas given students who graduate. The ‘changes ofthe format begs the question of “Why did they change it?” On the surface it appears the diploma design was not satisfactory. However the at of changing the for mat of the diploma implies a dissatisfaction with the image ‘ofthe schoo! and is functions. Atany rate, the readers can judge whether that assumption is valid. In Tooking atthe ‘changes the diploma has undergone Ibelive this institution is sil desperately seeking an identity and fels quite un ‘comfortable in its instability ‘A most interesting phenomenon occurs when graduates receive ther diploma from E.C.C.A.D. They teat them i ‘amanner of relevance which borders on complete disdain In tying to get origina diplomas I can tate, safely. that they were mostly “non-displayed". One was behind a door the other two had tobe ferretted out fom half-remembered storage spaces. The reasons were unanimous fortis cast alness. It wasn’t the diploma which really counted; rather the portfolio and the “experience” of art school were more important. A “diploma” is not a recognized commodity in the sense a “degree” is. Itleft me thinking of suitable place todisplay my own. When discussing the callousness of casualness it be- ‘comes impossible to leave out the Board of Directors of E.C.C.A.D. Their last meeting sounded like the Socred ‘caucus rather than an “art related body”. The “Era of Re- straint” and the “Excellence in Education” gobbly-gook was echoed by the chairperson It was upsetting to note th the administration members gave no response on the issues ‘of “Restraint” and the “Excellence in Education Fund”. The devastation which one caused and the cynical empty ges- ture as a response, richly deserved some comment. By their public silence the administration lent credence tothe politi- cal policies which lay waste tothe artistic content which the institution of E.C.C.A.D. supposedly nurtures. Particu- larly galling was the board member who broke her arm pat- ting herself on the back because she flew in from Victoria, ‘She should save such displays of self-gratification for an “in-camera” session. I say this because the room was filled ‘with people who sleep, eat and breath “ART”. Such people ‘often go without the basic necessities in order to sustain, improve and practice “ART-MAKING’ ELEMENTARY DIPLOMA This Diploma is awarded to ‘onthe satislactory completion of the Two Years General Course comprising the following subjects DRAWING ss DESIGN & COLOUR comrostrion MODELLING NISTORY OF ART a ELECTIVES Gsm han tae ‘The following is a quotation from a predecessor of this newspaper which was called "X”. (Vol. 1, No.7, 28 Nov. "78): “On November | the provincial govemment approved {just over 5.5 million dollars forthe permanent location of E.C.C.A.D. For those who feel the present college looks half like ‘a hospital and half like a garbage dump, hopefully there will be a change. . . With the school brought to- ‘gether in one building we can expect a real cross-polli- nation of thoughts and technique.” ‘That expectation has fallen flat. One bright spot has been the initiative who believe that this school needs a “com- ‘munication device". Something which provides direct ac- {ess to the student body. I tip my hat to the people of The Planet of the Arts. 1 won't do the same for the administra tion who's attitude is summed up by the tacit approval to highlight Tom Hudson's Childrens Art Exhibit over the 1986 Graduation Show”. A bitter pill to swallow since the setiool sought to distance themselves from the “Expo Cir. cus”. It signals a new era of “politics and art. In light of that we should have another change of the graduation dip- Joma in which the “Expo 86" logo is featured in Socred col ‘ours. I'm quite sure the government-appointed “Board of Directors” should breakall their arms pat the back. themselves on