WILL YOU READ THIS (con't)

what you do value by analysing what
you don’t like, that’s very important
in developing your own work.

Being in school is a time when one
should be exploring as much as possi-
ble, the best way to make use of stu-
dent years is to find out as much as
possible, especially with all the
resources available through or at
school. It’s also of momentous value
to interact with working artists, talk-
ing to people making their living
from art can be very valuable. Art
schools tend to be a very sheltered en-
vironment, its easy to get wrapped up
in your own work.”’

Once again we have more perti-
nent information that all leads to the
same questions: what has happened
to the support of the college? Why
aren’t we supporting what is being
done at the Western Front? Why is
dialogue such a rare occurance bet-
ween the two? All these questions are
very well but, quite academic as the
real question is, why is such an im-
portant art school so apathetic?

Being a comparative newcomer to
this institute I’m constantly astonish-
ed at the lack of zeal displayed by
most everyone to get involved in
anything.

It really seems disturbing as being
in school is the most likely time to do
or find out anything you want. All in
all the lack of participation on behalf
of the school toward the Western
Front is a perfect example of how in-
different we are to anything other
than our own work. There is an en-
tire world outside of this school and to
reiterate what Eric Metcalfe said,’’ if
you are at all serious about making
art your life/career then you had bet-
ter get out and find out about your

profession.’’
* * *

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THE HORROR,
THE HORROR,

By: Sean Drysdale

There is something rather sick
about the attitudes in this school. In a
multi-million dollar government
showpiece, we are being programm-
ed into producing nice images which
conform to accepted standards of
what constitutes good design (art).

After four years in this institution,
the dream is to enter the real world
functioning artists.
Whatever reality is, it doesn’t have
inside/outside boundaries. This age is
on the brink of momentous change,
yet we, in our isolated divisional
cubicles are confining our ideas to
traditional formats. Why is painting
and photography still on the walls?
To have any impact or honesty, art
must come from experience. What
has happendd? Have we sublimated a
whole arena of experiences?

There is a scary madness happen-
ing in the streets. Reagan/Haig have
the niavete to mention: localized
nuclear war. The tube sells us
disposable plastic, useless products
and ideologies. The economy
plunges. Behind closed doors this
country’s assets are being auctioned
off to the highest bidder. In English
Bay we welcomed a grotesque war
machine while the Maritime
Fisheries Treaty drowns. Etc. . . etc.

I do not have a solution, but let us
at least escape the mundane and start
reflecting the chaos and dynamism

that encompasses us.
* * x

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