BR Nic Lyons Untitled Silver gelatin prints (20”X 24’’) When your're looking at student work that is in the stages of development, where there is diversity of theme that each person is trying to develop... the common theme lies in the fact that it is produced in a community 32 Influx: Magazine March 1999 anvannneninnnnnnmrntnrnnnalnbietiitny i or srnnnniansnnteneinnrinet erro, z that the show focused on the "freedom of expression, freedom to explore, or giving the space in which to explore a work." But what is the effect of this themeless aspect when one is viewing the show? Daniel Laskarin, a speaker at the reception for the exhibition along with Marion Penner Bancroft, discussed the fact of photography’s ascendance beyond the simple dichoto- my of fine art verses commercial/technical work in the past few decades. He saw the Photism exhibit as indicating the breadth of this ascendancy by showing such a diversity of techniques. He also considered the work to exemplify both the richness of contempo- rary photographic practice and the possibilities of the future of photography. Bancroft commented that she was struck by the range of questions asked by each student in their work, how noth- ing was taken for granted. She spoke of the attention to detail in terms of materials that went into the production of the work, not- ing that the photographs do not stop at the edge of the frame, and that all aspects of the piece (not the image alone) carry meaning. Bancroft saw the work as taking on the practice of photography as a central subject, rather than merely using the medium as a trans- parent vehicle for the expression of an idea. Often this was carried out by the reference to old-fashioned techniques and convention- al genres, with criticism rather than tribute in mind. The result is a comment on photographic practices and their place in contem- porary culture; a questioning of the medium that is itself being utilized. It seems that the qualities of the work discussed above would have been less prevalent in a show that had strict guidelines for admittance, and that it is the freedom granted by such an exhi- bition that allows for the observations of both Laskarin and Bancroft to speak truthfully about the work presented. Kathryn Mussallem St. Patricks Day Parade, Boston 1988 Photography today necessarily calls into question, and turns a critical eye towards, the use of the photographic medium in the production of meaning. That this phenomenon is repre- sented in so many ways in the Photism show involves the bringing together of diverse approaches by which the students came to cre- ate the artwork. Without a theme to focus on, the student must struggle to arrive at individual ideas that they feel confident they can begin to express and explore through the production and dis- play of photographic works. This is a valuable process for all artists; it insists on the ability to focus on a particular idea or con- cern, as well as the ability to create work that produces meaning both for the artist and for the viewer. This is not to maintain that all of the work presented in the exhibit is successful in these aspects, but instead to comment on the effort and the difficulty involved in the production of the work shown. To some degree it is the nature of this show, unjuried and lacking a central theme, that forces the high levels of exertion and dedication that must have taken place in some cases. With everything taken into account, the community effort and involvement, and the student production of work, there is a sense of satisfaction that Mendes expresses when he says, "what I hoped in the end was that... [Photism] showed that you don’t need a professional gallery to present a professional show. We as a student body and an institution like Emily Carr are more capable and have more resources at hand, and have more people at hand, if they choose to be at hand, to produce shows of work that... are second to none. I mean, given more time it would have been wonderful, but uh, given the time we had I think we did very well, and the artists, all of them, should be proud of what they produced". Silver gelatin prints (20”X 24” When you're looking at student work that is in the stages of development, where there is diversity of theme that each person is trying to develop... the common theme lies in the fact that it is produced in a community 32 Influx? Magazine March 1999 PhotiSAM cre10. ‘that the shove focused om the “freedom of expression, feedom to ‘explore, or giving the space i which to explore a wor ‘But what the effect of the themeles agpect when one is viewing the show? Daniel Lasharin, a speaker atthe reception for the exhibition slong with Marion Penner Bancroft, discussed the fct of photoprapy’sascendance beyond the simple dichoto- ny of fine art verses commercialAechnical workin the past few ‘cade. He sa the Photon exhibit s indicating the breadth of this ascendancy by showing such adversity of techniques, He also ‘considered the work ro exemplify both the richnes of contempo- racy photographic practice and the posits of the forure of photography. Bancroft commented that she was struck by the range of question asked by each student in ther work, ow noth- ing was taken for granted. She spoke ofthe attention to detail a terms of material that weat ino the production ofthe work, not- ing thatthe photographs do not top st the edge of the fame, and thacall aspects of the piece (aot the image alone) carry meaning Bancroft saw the work as aking onthe practice of photography as a central subject, ater than merely sing the medium asa tant= patent vehicle forthe expression of an idea. Often this was carried Dut bythe reference to al-fashioned techniques and convention- fl genres, with ert rather shan webu in mind. The result & comment on photographie practices and ther place in contem- porary culture; a quesGoning of the medium that is ie being tulized. I seems that the qualities of the work discussed above would have been les prevalent ina show that had strict guidelines foradmitance, and that tis the freedom granted by such an exhi- bition tht allows for the observations of both Laskar and Bancroft to speak wuthully about the work presented Kathryn Mussallem St. Patricks Day Parade, Boston 1988 Photography today necesaily calls nto question, and tums a erica ee towards, the ute ofthe photographie medim in the production of meaning. That this phenomenon is repre- ‘ented in 3 many ways inthe Photon show involves the bringing together of diverse approaches by which the students came oere= ate the artwork: Without a theme to focus on, the student must Strugpe to arrive at individual ideas that they fel confident they an begin o express and explore through the production and dis- play of photographic works. This is valuable process for all rusts insists onthe ability to focus ona particular dea or con er, as well a the ability to create Work that produces meaning both forthe att and for the viewer This x not to maintain that all of the work presented i the exhibit is successful in these ‘pects but instead to comment on the effort and the dificlty involved inthe production ofthe work shown, To some degree it isthe nature ofthis show, unjuried and lacking a central thes that forces th high levels of exertion and dedication that mune have taken place in some cass. ‘With everything taken into account, the community {ffort and involvement and the student production of work there fs sense of satisfaction that Mendes expresses when he says, ‘what T hoped inthe end was that. [Photon] showed that you don't need a profesional gallery to present a professional show. ‘Wes student body and an instiution ike Emuly Car are more capable and have more resources at hand, and have more people at hand, if they choose tobe at hand, to produce shows of work that. ae second to none. T mean, given more time it would ave been wonderful, bu uh, given the time we had I think we di very well, and the artists, all'of them, should be proud of what they produced!