$$$ a ee planet of the arts vol 3 nol EDITORIAL — eep in the midst of yet another Night of the Living Dead-line, the empty expanse of unwritten Editorial looms. Luc- kily, as both you and I know, no-one ever reads editorials so the pressure is off. However, just in case some intrepid soul should venture into the depths of this paragraph, I'd like them to know that the Planet of the Arts has moved. We are currently situated in the Executive Suite high atop the lovely Concourse Gallery (Room 242). Further, we are ex- ‘tremely grateful to all parties responsible for the acquisition of this space. If only we had some furniture . . . Since you have just been informed of our location, there is no longer any excuse for not submitting your artwork, your articles, your letters, your services. You pay for this paper through student fees, so don’t just read it, make it! The black box outside our office is the place to put your mouth where your money is, or you can feel free to accost Kat (art director), or Martin (typesetter), or Naomi (editor) at any time. And leave Virginia alone, she’s retired now. So much for proseletizing (00h — five syllables) — the good news is that, just like Humpty Dumpty, we've had a great Fall — three Planet workshops were held in September, resulting in a massive increase in student participation and publication-oriented education. Many thanks to Constance Brissenden of V Magazine for her writing seminar, and to the Planet staff who conducted workshops in both typesetting and paste-up. Though there presently exists a troupe of trainee typesetters and a pack of apprentice paste-uppers, you still have a chance to be involved. On-the-job training it’s called, and it is an ongoing Planet committment. Fledgling writers should be encouraged by the Administration’s promise to provide upgraded (ie. functional) typewriters for student use (to be available shortly, in the Student Society office). The eight new word-processing MacIntoshes in the Computer Department are also a possible resource. Further encouragement for writers: The Planet is now established enough in the public eye that real live Press cre- dentials are coming this way. Our long-time movie reviewer will be flashing his V.I.F.F. press card and attending unli- mited showings during the 6th Vancouver International Film Festival — watch for the feature article in next month’s issue. The Planet will be published on a monthly basis, working around such disruptions as Reading Week, Christmas, and surprise visits by the Pope. Writing deadlines will be posted outside the Planet office; artwork is accepted at all times. Since no-one is actually reading this anyway, any further information should be obtained from me in person. x DF Ore ee Y 5 are ¢ nat = 8 iu 4 = — x 0 p.s. — All Planet staff mhembers and readers who have gotten this far are invited to join us at the Arts Club 4:30 mon- day october 5th to celebrate/discuss/marvel at/ridicule Volume 3, Number 1. he Planet of the Arts is a student publication from the Emily Carr College of Art and Design, funded by the Student Society. We welcome unsolicited con- tributions provided they include the contributor’s realname and phone number. Articles must be typewritten and double spaced. Photos and draw \ws® Editor; The Planet As the right side of the political spectrum views it, once out of this school you trade art- for-critique for art-for-food. Our Minister of Post-Secondary Education, Stan Hagen (con- flict of concrete interest notwithstanding) de- crees a curriculum which creates molded mar- ketplace fodder out of students. Catch 22 — there’s no room in college courses because of restraint in education spending, no jobs be- cause of resource mismanagement, and all those unemployed people trying to go back to school. What of the fine arts education and the mar- ketplace? Painters painting lanes and signs on the Coquihalla; printmakers printing Provincial Report; and 3D students retrained to cast ce- ment garden-gnomes to sell at Fantasy Gar- dens. There is a place in the Neo-Conservative Reality for the liberal and fine arts education. Somebody out there has to be capable of abstraction in a sea of cloned rote. Our educa- tion to come — the sound of one number crunching? Zen and the Art of Executive Moti- vation? Adam Smith instead of Jean Baudril- lard? Cynically yours, lan Verchere Dear Editor, Re: Curious George at Graceland: Willful parody of the highest (dis)order! A Fan ngs should be black and white. Submissions can be placed in the black box outside the Planet office. The Editor reserves the right to edit submissions to increase clarity and to eliminate racism and sexism. EDITOR Naomi Singer ART DIRECTOR Kathleen McCord STAFF PHOTOGRAPHER Keith Nevin TYPESETTING Martin Hunt. Kathleen Culham, Tipper Carlyle, Kevin Fedirko, Tanya Kucuy, Lynda Nakashima PASTE -UP Anna-Lisa Meikle. Virginia Achtem, Ana Chang,Mario Gonzales. Floyd Troman, Daniel Morgan, Claire Yargeau , Sharon Kwik Robin Hutchinson PHOTOS Anna-Lisa Meikle, Kelly Wood GRAPHICS Margaret Bootsma, Friedrich Peter, Sean Thompson ARTICLES Kelvin Holland, Jerry Stochansky, Virginia Achtem, E. John Love, Martin Hunt, Richard Gordon, Jeremy Bee, Ian Verchére, Martin Stein COVER Collage by Kelly Wood FACULTY ADVISER John Wertschek Planet of the Arts clo Emily Carr College of Art and Design 1399 Johnston St., Vancouver, B.C. V6H 3R9 contents Dear Editor, We should be taking advantage of a dead end. People just love to stroll aimlessly around Granville Island. Business people, couples, even entire families can be seen cruising past almost any navigable thoroughfare you may choose to observe. What happens when they reach a dead end? Like sperm, ants or spawn- - | ing salmon, they turn around and try to find another opening. At the exact moment when they realise their progress has been impeded, there lies a great untapped potential! Having read the Ministry of Youth’s booklet on “How to Find Work”, | know a business op- portunity when I see one! Well, not exactly the business of making money, but rather, the business of showing Art, which can /ead to the business of making money. As I sit here in the cafeteria, hordes of “cus- tomers’ are strolling past the window, and slip- ping through our fingers. On the first pass they are smiling, relaxed, confident that something fine and worthy of a stroll awaits them. Mo- ments later, heading back from the dead-end of the cement factory wall, their heads are hung sheepishly low, they cast sideways glances: they know a mean trick has been played upon them. My viewing of their embar- rassment somehow makes me responsible. These strollers should no longer suffer this disappointment. There should be something down that cruel dead-end. We as creative indi- viduals can provide an alternative worthy of a stroll, and get our Art a larger audience. Suggestively yours, R.G. Mungicake Profile of a prolific individual . . . page +. The centre-spread unfolds on a dis- concerting artist . . . page 6 - 7.Church- sanctioned reproduction is discussed as Stochansky wanders the street concessionals of a Papal visitation ... page 8. Extra-real-true-newsworthy items fill page 5. Drama unfolds on page 8° as Earl encounters Deadly Hygiene. Political options for the enquiring mind, page 9. E.C.C.A.D. artists get their Verchére of attention in Art Reviews . .. page 10. Goingzon of all sorts go on (and on) on page 12. Student Society Page is 3. Movie by Stein... page 10. Under the Table of Mal-contents: peruse heated issues as put forth by Jeremy with a Bee in his bonnet . . . page 4: consider touchy subjects tackled by Virginia up-and-Achtem . . . page 5; and rifle through pointed opinions as Martin Hunts down big game .. page 8. And more, all over the place . . . = planetoft tremely grat Since yo your art black box outside our off ‘of trainee typesetters it’s called, and it is an on; upgeaded promise to provid office). The eight new word-processing MacIntoshes in the Computer Dey igement for writers: The PI ps. — All Planet staff ine day oetober 5th to celeb Editor, The Planet ‘As the right side of the poltical spectrum views it, once out of this school you trade art- for-critique for art-fr-food. Our Minister of Post-Secondary Education, Stan Hagen (con- flict of concrete interest notwithstanding) de- ‘erees a curriculum which creates molded mar- ketplace fodder out of students. Catch 22 — there's no room in college courses because of testraint in education spending, no jobs be- ‘cause of resource mismanagement, and all those unemployed people trying to go back to school. ‘What of the fine arts education and the mar- ketplace? Painters painting lanes and signs on the Coquitala; printmakers printing Provincial Report; and 30 students retrained to cast ce- ‘ment garden-gnomes to sell at Fantasy Gar- dens. ‘There is a place in the Neo-Conservative Realty forthe liberal and fine arts education ‘Somebody out there has to be capable of abstraction in a sea of cloned rote. Our educa- tion to come — the sound of one number ‘crunching? Zen and the Art of Executive Moti- vation? Adam Smith instead of Jean Baud. lard? Cynically yours, lan Verchere Dear Editor, Re: Curious George at Graceland: Willful. parody of the highest (disorder! AFan Profile of a prolific individual page 6 - 7.Church- sanctioned reproduction is di station... page 8. Ex rl encounters Deadly Hygiene. Political options for the en nin Art Rey ofa Papal as get the 12.8 nda pack of apprentice paste-uppers. you still havea ch Planet coi page ce arts vol ©DITORIAL — thee ng Dead so the press them to know that y for th r) ata \ Vi ber, resulting in a it. Fled 1) typewriters fo riters shou lent use (to be: xis now established pty expanse is off. However atop the lovely Concourse Gallery (Roo responsible for the acquisition of this space. If only we had som nformed of our location, th les, your letters, your services. Yo the place to put your mi ter). or Naon proseletizing (ooh — five syllables) — the good news is tha great Fall — three Planet workshops were held in Septe tion, Many thanks to Constance Brissenden of V use for not submit es, so don't just like Hi Bonol justin case some intrepid soul ¢ Planet of the Arts has moved. We are 2, Further, we are ex: furn st read it, make it! The ed now. pty Dumpty, we've had a office; artwork is accepted vel aU/ridicule Vo 3, Number 1 he Planet ofthe Ars sa student publication trom ine Emily Carr Collegeof Art and Design funded by ‘he Student Sooty We welcome unsoicted con- {butions provided tay include the contributors ‘eal namo and phone number. Aricies must be typewritten and double spaced. Photos and draw ngs shoud be black and white. Submissions can bepacedin the black box outside the Planet office. ‘he Editor resorvesthe right fo et submissions fo Increase clantyandto eliminate racism and sexs. EDITOR Naomi Sin ART DIRE¢ eTOR Kathleen McCord STAFF PHOTOGRAPHER Keith Nevin ‘Tipper Carlyle ‘Tanya Kucuy ire Yargeau . Sharon Kwik Robin Hutchinson PHOTOS Anna-Lisa Meikle, Kelly Wood GRAPHICS COVER FACULTY ADVISER John Wertschek 10 Emly Carr Colge of At and Design elo and 1809 tonnsion St Vancouver B.C. "VoH SAo contents page +. The centre-spread un ws... page 10, in... page 10. Under th e in his bor dd rifle through poi page 8. And more, all over the place 2 is far are invited to 5. Drama. Table of Mal-contents: pe et... page 4: consider touchy subj 1s as Mart ed fron Dear Editor, We should be taking advantage of a dead end, People just love to stroll aimlessly around Granville Island. Business people, couples, ‘even entre families can be seen cruising past almost any navigable thoroughfare you may ‘choose to observe. What happens when they reach a dead end? Like sperm, ants or spawn ing salmon, they tu around and try to find ‘another opening, At the exact moment when they realise their progress has been impeded, there lies a great untapped potential! Having read the Ministry of Youth's booklet ‘on “How to Find Work’, | know a business op- portunity when | see one! Well, not exactly t business of making money, but rather, the business of showing Art, which can lead to the business of making money. {A | sithere inthe cafeteria, hordes of ‘cus- tomers” are strolling past he window, and sip- ping through our fingers. On the ist pass they are smiling, relaxed, confident that something fine and worthy of a stroll awaits them. Mo- ‘ments later, heading back from the dead-end ‘of the coment factory wall, their heads are hhung sheepishly low, they cast sideways lances: they know a mean trick has been played upon them. My viewing oftheir embar- rassment somehow makes me responsible. ‘These strollers should no longer suffer this