TIONS JUNC Spaces of creative interactivity Vancou erna A questioning at the faculty show. Vancouver is widely represented, but mostly by the stereotypes which are usually associated with it. Oliver Girling Part of the series: The Native Friendship Centre, Fifth Avenue, Vancouver. BY: Sean Rorison Every year about this time the students of the Emily Carr Institute of Art and Design get to be amazed and dazzled by the artistic talents of the faculty. These are the people who mold and shape the psyches of hundreds of bud- ding young artists. Or at least, this is assumed to be the case. The faculty show, this year entitled Vancouver Vernacular, is the forum where students get to see their teachers put their reputations on the line, and show the untrained students of the institute how real art is made. However, walking into the show with that frame of mind may not be the best way to approach this exhibition. There is a varying level of technical and conceptual compe- tence in the wide range of work presented in the Charles H. Scott Gallery. In fact, some pieces even resemble student work. Perhaps as students we’re supposed to pass this off as a coy game by the faculty member who undoubtedly is using this sort of ‘student style’ of making art as a deeper socio-conceptual study into some murky topic relating to landscape and psychology - it would be unthinkable to assume that perhaps some of the teachers in the exhibition are not at least half as tal- ented as the best student in the school. One might assume that an artist who produces poorly conceived and executed work is likely to be a poor teacher of art, or that an amaz- ing artist is obviously an amazing art instructor as well - but this is not necessarily the case. In fact, there are several pieces in this exhibition which are not on the same level as some of the work being done by students at the institute, meaning that there are teachers here who, dare I say it, are not the amazing artists that we think they are. Which would explain why they teach for a living. Or the excuse could be used that, since they are : spending their lives teaching, they do not have the time available to spend developing their art practice. However, this could not possibly be the case since faculty have four months off each year, and a great benefits package, including leaves of absence for the express purpose of developing new and improved work. ’ Entering the exhibition with these things in mind, the variety of work presented to the institute by the instructors is interesting to say the least. It is also interesting to see how each teacher approached the theme of the exhibition, (or failed to) - the theme, assumably, being to represent Vancouver in some way. The predominant representations in the show were pretty standard - namely landscape and weather. Modification of the landscape is a theme explored in many pieces, with direct references to earth and vegetation. To offset this domi- John Wertschek Vancouver 1998 nant concept were other pieces which make more subtle refer- ences to Vancouver, or perhaps don’t make references to Vancouver at all - although Vancouver, being a city, can obvi- ously have a vast multitude of approaches in its representa- tions - just like any other city. John Wertschek’s piece Vancouver, is a prime exam- ple of a typical representation of Vancouver’s landscape, and the elements that define British Columbia - the railroad and the saw. The railroad is a reference to the fact that British Columbia entered the Canadian confederation due to the construction of the Canadian National Railway. It also refers to Vancouver’s reputation within Canadian history as the "ter- minal city". The entire railroad concept signifies Vancouver within the context of Canada - the last option on the railroad, the place where people, who couldn’t find work anywhere else in the country, went during the great depression. The saw, of course, references British Columbia’s dominant forestry industry, our wonderful landscape and environmental tourist attractions, and perhaps even our environmental preservation movements such as Greenpeace. I found this piece to be sim- ple, yet succinct enough to effectively bring forth all of the stereotypes which exist around Vancouver and its surround- ings. The drawings posted by Oliver Girling are an inter-- esting display of not displaying extreme prowess in drawing - his drawings of totem poles are simple and slightly unconfi- dent. However, the possibility for a conceptual reading of the drawings exists, as totem poles are one of the most often sketched items in Vancouver; at least I remember junior high school days of being stuck somewhere on a field trip and being forced to draw totem poles. This sort of representation of the idea of how people would choose to represent Vancouver through thumbnail sketches, is a unique twist on the problem of representing Vancouver. On the flipside, Nora Blanck’s single drawing appeared to me unfortunate. In fact, below the title is an itali- cized phrase that seems to be apologizing for the state of the piece. It is not that the piece feels unfinished; it simply seems to lack the technical or conceptual prowess which one assumes would be developed to a reasonable degree by the time an artist becomes experienced enough to teach at a post- secondary level. Furthermore, I did not infer even the small- est reference to Vancouver. It may have been more prudent to not participate in this years show if Hear/Here: Listening in Lotus Land, is Nora Blanck’s only presentable work. It is hard to say if a great deal of dialogue went on between teachers about how the pieces in the show should connect together; some of them connect quite nicely, while others don’t seem to fit at all. The city of Vancouver is widely represented, but its most frequent representations are still confounded in the regular stereotypes which are associated with it - landscape, trees, and a consistent style of weather. Overall, Vancouver Vernacular presents varying levels of both artistic skill and seriousness of approach. The quality of the work is good, and if not for a few questionable pieces, the show may have been wonderful. However, it is unfortu- nate that the variety of responses from the faculty do not cre- ate an entirely coherent exhibition. On the other hand there is still, for students who venture into the gallery, a unique opportunity to gather some insight into the instructors at this Institute. Influx: Magazine February 1999 27 TIONS JUNC paces of creative interactivity Vancouver s _ Vernacular A questioning look at the faculty show. e Vancouver is widely represented, but mostly by the stereotypes which are usually associated with it. over citing art ofthe sores The Natve Friendship Cente, Fit Avenue, Vancouver BY: Sean Rorison very year about this time the students of the Emily Carr Insitute of Art and Design get to be amazed and dazed by the artiste talents ofthe faculty: These are the people who mold and shape the psyches of hundreds of bud- ding young artists. Or at least, this is assumed to be the cae. The faculty show this year ended Vancouver Hrnactlay, is the forum where students get to see their teachers put their reputations on the line and show the untrained students of the institute bow real artis made, However, walking into the show with that frame of mind may not be the best way to approach this exhibition, There is a varying level of technical and conceptual compe- tence in the wide range of work presented in the Chatles H. Scott Gallery. Infact, some pieces even resemble student work. Pethaps as students we're supposed to pas this off as a coy game by the faculty member who undoubtedly is using this sort of student style’ of making art asa deeper socio-conceprual study into some murky topic relating to landscape and psychology - it ‘would be unthinkable to assume that perhaps some ofthe teaches in the ‘exhibition are no at least half as tal> ‘ented as the best student inthe school (One might assume that an artist who produces poorly conceived and executed work is likely 0 be a poor teacher of art, or that an amaz= Ing artist is obviously an amazing art instructor as well - But this is not necessarily the case. Infact, there are several pieces inthis exhibition which fare not on the same level as some of the work being done by students at the institute, meaning that there are teachers here who, dare Isai, are ‘ot the amazing artists that we think they are Which would explain why they tach fora living. Or the excuse ‘could be used that, since they are spending thir lives teaching, they do ‘ot have the time available to spend developing their art practice. However, this could not possibly be the case since faculty have four ‘months off each year and a great benefits package, including leaves of absence for the express purpose of developing new and improved work, Entering the exhibition ‘with these things in mind, the variety of work presented tothe institute by the instructors is interesting to say the leat. Its also interesting to sce hhow each teacher approached the theme of the exhibition, (r failed to) = the theme, assumably, being to represent Vancouver in some ‘The predominant representations in the show were prety standard - namely landscape and weather. Modification ofthe landscape is a theme explored in many pieces, with direct references to earth and vegetation. To offset this domi- ‘nant concept were other pieces which make more subtle refer~ «ences to Vancouver, or perhaps don’t make references to ‘Vancouver at all - although Vancouver, being aciy, can obvi- ‘ounly have avast multitude of approaches in its representa- tions ~ just lke any other city John Wertschek’s piece Vancouver, i a prime exam- ple of atypical representation of Vancouver’s landscape, and the elements that define British Columbia - the ruleoad and the saw The railroad isa reference to the fact that British Columbia entered the Canadian confederation due o the construction ofthe Canadian National Railway. I also refers to Vancouver's reputation within Canadian history asthe "ter- minal cit” ‘The entre railroad concept signifies Vancouver within the context of Canada =the last option onthe railroad, the place where people, who couldn't find work anywhere else in the country, went during the great depression. The saw, of ‘course, references British Colimbia's dominant forestry industry our wonderful landscape and environmental tourist attractions, and perhaps even ovr environmental preservation ‘movements such as Greenpeace. I found this pice tobe sim- ple, yet succinet enough to effectively bring forth all ofthe ‘ereotypes which exist around Vancouver and its surround ings. The drawings posted by Oliver Gising are an inter- ‘ting display of not displaying extreme prowess in drawing - his drawings of totem poles are simple and slightly uncon dent. However, the possiblity fora conceptual reading ofthe ‘awings exists, as torem poles are one ofthe most often ‘sketched items in Vancouver; at least I remember junior high ‘school days of being stuck somewhere on a field trip and ‘being forced to draw totem poles. Ths sort of representation ofthe idea of how people would choose to represent Vancouver through thumbnal sketches, i a unique twist on the problem of representing Vancouver ‘On the flipside, Nora Blanck’s single drawing appeared to me unfortunate. Infact, Below the tite san ital ized phrase that seems to be apologizing forthe state of the piece. Its not that the piece feels unfinished i simply seems to lack the technical or conceptual prowess which one assumes would be developed to a reasonable degree by the time an artist becomes experienced enough to teach ata post secondary level, Furthermore, I did not infer even the small- cst reference 10 Vancouver. It may have been more prudent 10 ‘ot participate in this ears show if HearHere: Listening in Lot Land, is Nora Blancs only presentable work Tei hard to say if a great deal of dialogue went on ‘between teachers about how the pieces inthe show should ‘connect together; some of them connect quite nicely, whi ‘others don't seem to ft at all The city of Vancouver i widely represented but its most frequent representations are stil ‘confounded in the regular sterorypes wich are associated ‘with it~ landseape, tes, and a consistent style of weather. ‘Overall, ancouer Vernacular presents varying levels of both artistic skill and seriousness of approach. The quali ofthe work is good, and if not for afew questionable pieces, the show may have been wonderful. However, it is unfortu nate thatthe variety of responses from the faculty do not cre~ ate an entirely coherent exhibition. On the other hand there is stil for students who venture into the gallery, a unique portunity gather some ight ino the instructors this Influx Magazine February 1999 27