46 planet of the arts / spring 1998 THE INSTITUTE Tom Hudson, 1922 — 1997 REQUIEM AXTERNA bituaries have a habit of making their charac- ters larger than they really were. Not in the case of Tom Hudson though — who passed away last December 28, in Bristol, England. Although this humble collection of personal anecdotes about Tom isn’t meant to be a for- mal testament, it would in any case take a lot more that this to eclipse Tom’s truly colourful persona and monu- mental achievements. Tom had a long association with ECIAD, as Dean of Instruction (1975-90), ‘retiring’ in 1990 to the position of Dean Emeritus and continuing his life-long pursuit in art education, through television and writing. To hundreds of people throughout the province, Tom was a charismatic TV personality, because of his four frequently-aired tele- courses on the Knowledge Network. A dignified, fatherly, grey-beard- ed Brit, who for an hour each week would rant and rave about art like some preacher possessed, he piqued the interest of even the most docile, stirring them into creative outpourings they had never believed possible. Truck drivers stopped him on the street to say “Hi, Mr. Hudson! Great program last night!” Stall-owners in the Granville Island Public Market gave him gifts of fruit. School kids referred to him as the ‘Colour Man’ In short, Tom brought an understanding of art to the common folk, involving them in their own art making ona scale that no other public art initiative can claim to have done. Tom’s telecourses took up most of his retirement: Colour, Mark and Image, Material and Form, Understanding Modern Art. Bernie Motut (Knowledge Network) recalls the scene: “The production of the four telecourses with Tom were pretty intense, gruelling times ... the two of us painstakingly rendered those programs, word by word, frame by frame ... but the experience was balanced by the most rewarding collaboration of my career.” Tom’s programs appealed to all ages, even children. One of his close friends — (a former Vancouver school teacher who died some years ago) once recalled a funny story about an episode of Mark and Image, in which Tom had a nude model for a life drawing class. Bob’s young daughter called out to her father: “Daddy, Mr. Hudson’s on TV with a nude lady!” To which the father asked: “But does Mr. Hudson have his clothes on?” The daughter replied: “Yes!” “Well, then that’s okay,” replied the father. My daughter sometimes shouted at Tom when he was being broadcast, insisting he leave the students alone and “stop messing up their drawings!” Tom loved kids and they sensed it. : Then there was Tom and his frequent long-distance phone calls. Darleen Jones (Emily Carr Institute’s long-serving receptionist) recalls: “During the days when all long distance calls were placed through the switchboard, Tom would ask to be rung through to England, Norway or wherever. I would stay on the line to ensure it connected, but as we all know lines can ring busy, so I would relay this to Tom, who would respond with ‘Bloody people — tell them it’s HUDSON from CANADA! (Click.)” Tea-time was one of Tom’s passions. Not just in the afternoon either. Cathy Johnson, his administrative assistant for many years, ILLUSTRATION BY FRED PETER “Farewell Tom Hudson, You Old Bugger!” recalls how she quickly learned that having a cup of tea ready when Tom got into his Dean’s office was the most important thing each day. But first Cathy would have to track down the cup, which Tom would have absent-mindedly left somewhere in the building the night before. Tea-time was a ritual that Tom considered civilizing. An occa- sion to reminisce. Rick Cuff (a former Emily Carr Institute instructor who now teaches at Kwantlen College), Elisa McLaren (former tele- course coordinator at Emily Carr Institute), and Judith O’Keeffe (now at Vancouver Community College), were all ‘entertained’ at var- ious times by his endless tales about his army exploits in Burma and Italy during the Second World War, things such as the Burma Campaign, fighting the Japanese in the jungle, and the occasional near-death experience. For his bravery Tom was offered, but refused, a commission as an officer preferring to remain as an ordinary sol- dier, true to his proletariat principles. His martial art skills, learned in the army, came to be useful in the late 1970’s as Dean of Instruction at the old Vancouver School of Art. Bill Cupit, Emily Carr Institute’s Photography De- partment Coordinator, recalls how a student sent to Tom’s office pulled a knife on him during their discussion. In a flash Tom had the student attacker down on the floor in a karate-like action, keeping him pinned down until the police arrived. Afterwards, Tom made light of the incident showing nothing but his typical compassion towards the culprit. I first met Tom in the late 1970’s, while I was chairman of the Department of Visual, Applied and Performing Arts at what was then Douglas College. The College had just completed an internal evalua- tion of its programmes and Tom had been sent as the external art inspector to check that we had done the job properly. After two entire days of having my ‘ear chewed off’ by this ‘Mr. Hudson’, a dinner was held at a New Westminster hotel, as a ‘thank you to the whole exter- nal team. Who did I get to sit opposite? Why, Mr. Hudson, of course. Somehow, after discovering our similar upbringing in the UK, in lower-class families, Tom figured I was a fertile mind ready to be indoctrinated by his left-wing philosophies on life. I have never for- gotten the appalling hotel food and Tom’s three-hour monologue at me about art and design education, politics, how art teachers were a bunch of f...ing 19th century romantics screwing up the whole thing, and what I should do to carry on his campaign. I didn’t have the courage to tell him to stop. My only thought was to get away from this fanatic as fast as possible. This was all long before I ever dreamed of teaching at Emily Carr Institute. Little did I realize that a few years later he would be ‘interviewing’ me at the Institute. (Actually, I think he lectured me again!) After this dinner experience I came to know Tom as a terrific ora- tor with an enviable command of the English language. I soon learned how to ignite his vitriolic vocabulary by mentioning topics I knew would get his dander: art education (especially foundation programs), Tom involved common folk in their own art making on a scale that no other public art initiative can claim to have done. Margaret Thatcher, the United States, and hiring quotas. Tom made an art form out of what would nowadays be political incorrectness. The superlatives would flow like water. Sheer hilarious entertainment! But the guiding light for Tom, and his greatest legacy for us, was his life-long quest towards the perfect art education for everyone, not an elite. In the late 1950’s art education was in a floundering state. Meanwhile, a young Tom was actively engaged in the national debate (in the UK) on how to improve things, taking part in the notorious 1956 Society of Education in Art conference in Leeds. Along with other well-known biggies in the art and academic world, Tom out- lined the fundamental tenets of the ‘Basic Design’ approach to edu- cation through art. At the conference Maurice Sausmarez said (sum- ming up Tom’s views on the subject) that: “There is in art theory today a thinly disguised conspiracy against intelligence, resulting from an arbitrary splitting of consciousness into intuition and intel- lect as though they were mutually exclusive, instead of inseparable...” Such thinking led to the revolution in art and design education in the UK and spreading on from there. “Tom was indeed a major figure in the emphatic move towards all students achieving competency in visual literacy... He can lay claim to being a founding father of the Foundation Movement that took hold in all UK art schools throughout the 1960’s. In effect all of us who have studied art and design since that time are Tom’s offspring.” (Mike Skelton, a former instructor of Design History at the Institute.) Tom was a father-figure to all that knew him, from whatever perspective. . Though he was an arrogant so-and-so and was often misunder- stood we all respected his dedication. He expected the most from his friends, colleagues, and students, though never more than he expect- ed of himself. We knew our place: disciples; he knew his: teacher. We were meant to learn and carry on his crusade. In return, Tom inspired us into our best creative actions. He was a compassionate teacher and a visionary — in the real sense of the word. But what we will all trea- sure the most about Tom is the commitment he made to excellence. He loathed those who mystify art or dilettantes who think art is mere- ly ‘fun: “Art is boot-camp!” Tom often said, with military precision. Well Tom, your boot-camp approach has left us with a profound legacy that is even bigger than you could have imagined. Many lives have been enriched by your dedication to art education and your warmth as a human being. In a way-there is so much that you have left us that it seems as though you couldn’t have left us. Let’s hope that in some small way, we can pass that creative genome on to the next generation of movers and shakers. Thank you. We will miss you, you old bugger! Requiem zterna. —Ken Hughes Ken Hughes is a senior faculty member in the School of Design, and Director of Digital Resources for the Institute. 46 planet of the arts / spring 1998 THE INSTITUTE Tom Hudson, 1922 - 1997 REQUIEM -TERNA “Farewell Tom Hudson, You Old Bugger!” bituaries have habit of making their chara ters larger than they really were. Not in the ‘ase of Tom Hudson though ~ who passed away last December 28, in Bristol, England, Although this humble collection of personal anecdotes about Tom isnt meant to be a for mal testament, it would in any case take a lot ‘more that this to eclipse Toms truly colourfl persona and mon: mental achievements Tom hada log association with ECIAD, as Dean of Instruction (0975-90), “retiring” in 1990 to the postion of Dean Emeritus and continuing his life-long pursuit in at education, through television and writing ‘To hundreds of people throughout the province Tom was a chars ic TV personality, because of his four frequent sired tele ‘courses onthe Knowledge Network: A dignified fatherly, grey beard ‘Brit, who foran hou each week would rant and rave about art ike some preacher posesed, he piqued the interest of even the most docile, stirring them into creative outpourings they had never believed posible. Truck drivers stopped hm on the street to siy"Hi, “Mr. Hudson! Great program lastnight!" Stall owners inthe Granville Island Public Market gave him gifts of frit. School kid referred to him asthe Colour Man: In short, Tom brought an understanding of arto the common fol, involving them in their own at ma scale that no other public at inttive can claim to have done ‘Toms telecourses took up most of his retitement: Colous, Mark and Image, Material and Form, Understanding Modern Art. Bernie Motut (Knowledge Network) reals the scene: “The production of ‘the four telecourses with Tom were petty intense, grueling the two of us painstakingly endered those programs, word by word, frame by frame ... but the experience was balanced by the most rewarding collaboration of my ater” ‘Tom's programs appealed to all ages, even children. One of his close frends = (a former Vancouver schoolteacher who died some yeas ago) once recalled a funny story about an episode of Mark and Image, in which Tom hada nude mode for alife drawing cas. Bob’s young daughter called out to her father:"Dadd, Mr. Hudsonson TV witha nude lady!” To which the father asked: “But does Mr. Hudson hhave his clothes on?” The daughter replied: "Ye!"“Well then that’s ‘okay replied the father. My daughter somtimes shouted at Tom wen he was being broadcast, insisting he leave the students alone and “stop messing up their drawings!” Tom loved kids and they sensed it ‘hen there was Tom and his fequent long-distance phone calls Darleen Jones (Emily Carr Institutes long-serving receptionist) recalls: "During the days when all long distance calls were placed through the switchboard, Tom would ask to be rung through to England, Norway or wherever would stay on the line to ensue it ‘connected, but as we al know line can ring busy, so I would relay this to Tom, who would respond with ‘Bloody people ~ tell them ifs HUDSON from CANADA? Click)” Tea-time was one of 1 s passions. Not justin the afternoon ithe. Cathy Johnson, his administrative assistant for many years, recalls how she quickly leaned that having a cup of tea ready when Tom got into his Deas office was the most important thing each day But fst Cathy would have to track down the cup, which Tom would have absent-minded let somewhere in the building the night before time was ritual that Tom considered civilzing. An ocea sion to reminisce. Rick Cuff a former Emily Carr Institute instructor who nov teaches at Kwantlen College), Elisa McLaren (former tele ‘course coordinator at Emily Carr Institute), and Judith O'Keefe (now at Vancouver Community College), wer al strtaned at var ous times by his enles tale about his army exploits in Burma and taly during the Second World War, things such as the Burma ‘Campaign, fighting the Japanese inthe jungle, and the occasional near-death experience For his bravery Tom was offered, but refused, commision as an officer preferring to remain as an ordinary sal ier, te to his proletariat principles. His martial at skills learned inthe army, came to be wef in the Inte 1970's as Dean of Instruction at the old Vancouver School of Art Bill Cupit, Emily Carr Institutes: Photography De partment Coordinator, recalls how a student Sen 9 Tom's ‘office pulled a ife om him uring thee discussion. In a flash Tom had the student attacker down on the oor 4 Karate action, keeping him pinned down until the police rived. Afterward Tom made ight ofthe incident showing nothing but his typical compassion towards the culprit 1 fist met Tom inthe late 1970s, while was chaieman of the Department of Visual, Applied and Performing Arts at what was then Douglas College. The College had jst completed an internal evalua- tion ofits programmes and Tom had been sent asthe external art {ngpectorto check that we had done thejob propel. After two entire days of having my ear chewed of by ths'Mr. Hudson dinner was, held ata New Westminster hotel as thank yo! to the whole exter al eam. Who did I get to sit opposite? Why, Mr. Hudson, of cours. Somehow, after discovering our similar upbringing in the UK, in lower-class families, Tom figured 1 was fertile mind ready to be indoctrinated by his e-wing philosophies on life Ihave never fr gotten the apallng hotel food and Tom's three-hour monologue at ‘me about art and design education, politics, how art teachers were a bbunchoff..ing 1th century romantics screwing up the whole thing, and what I should do to carry on his campaign. I didnt have the ‘courage to tell him to stop. My ony thought was to get away fom this fanatic as fast as posible. Tis was al long before I ever dreamed of teaching at Emily Car Insitute. Lith did Ureaize that afew years later he would be ‘interviewing me atthe Institute (Actually think heletured me again!) ‘After this dinner experience I came to know Tom a tert ora- tor with an enviable command of the English language. 1so0n learned hhow to ignite his vitriolic vocabulary by mentioning topics knew would get is dander: art education (especially foundation programs), Tom involved common folk in their own art making on a scale that no other public art initiative can claim to have done. Margaret Thatcher, th Unite States, and hi art form out of what would nowadays he politcal incorrectnes. The 1gotas. Tom madea superlatives would flow like water Shee hilarious entertainment! But the guiding ight for Tom, and his greatest legacy fr us, was hislife-long ques towards the perfect art education for everyone, not an elit. Inthe late 19's art education was in a floundering state Meanwhile, a young Tom was actively engaged in the national debate (in the UK) on how to improve things taking part in the notorious 1956 Society of Education in Art conference in Leeds Along with ‘other well-known biggies inthe art and academic word, Tom out lined the fundamental tenets of the asc Design’ approach toed ‘ation through art At the conference Maurice Sausmarez sai (sum: ming up Tons views on the subject) that: “There i i art theory today a thinly disguised conspiracy against intligence, resulting fom an arbitrary sping of consciousness into intuition and inte: lectas though they were mutually exclusive instead of inseparable Such thinking ed tothe revolution in art and design education inthe UK and spreading on from there. “Tom was indeed a major figure in the emphatic move towards all students achieving competency in sual Iiteracy.. He can lay dlsim to being 2 foundi father of the Foundation ‘Movement that took holdin all UK at schools throughout the 960 Ineffect all of us who have studied at and design since that time are Toms offipring” (Mike Skelton, a former instructor of Design History atthe Institute) ‘Tom was a father-fgure to all that knew him, from whatever erpect Though he was an arrogant so-and-so and was often misunder stood we all espected his dedication. He expected the mos from his fiends, colleagues, and students, though never more than he expect of himself We knew our place disciples; he knew his: teacher. We were meant to learn and carry on his crusade. In return, Tom inspired uso our best creative actions He was a compassionate teacher and visionary ~ inthe real sense ofthe word But what we wil all ea sure the most about Tom isthe commitment he made o excellence Heloathed those who mystify art or dletantes who think artis mere- Iyfun:"Artis bootcamp!" Tom often said, with military precision. ‘Well Tom, your boot-camp approach has lft us with a profound legacy that is even bigger than you could have imagined. Many ives have been enriched by your dedication to art education and your ‘warmth as a human being. Ina way there isso much that you have ‘ef us that it seems as though you could’ have eft us. Let's hope tothe that in some small way, we can pas that creative genome next generation of movers and shakers. Thank you We wi you old bugger Requiem stern Ken Hughes en ahs ser ry Inthe Sil of ag and Dr of Dig Recursion