spring 1998 / planet of the arts 47 THE INSTITUTE Institute Showcases First Nations Alumni Ground-breaking exhibit at ECIAD By Harald Gravelsins he Concourse Gallery at Emily Carr Institute was filled to capacity at the March 25th opening for Here and Now: First Peoples Perspectives, 1964 — 1997. The show marked the first time at Emily Carr Institute, and quite likely at any post-secondary school in Canada, that First Nations art and design alumni have been celebrated by their alma mater through an exhibition of their work. “Tt’s was a first time opportunity for many of the alumni to show their peers what they had been doing since graduat- ing from Emily Carr,” commented Judy Chartrand. Chartrand is on contract as a researcher for the development of a Centre for Contemporary First Nations Art at Emily Carr Institute. Chartrand came up with the idea of a First Nations alumni show last fall during her work to compile historical information on students of First Nations ancestry who have studied at the Institute. Her idea gained. quick acceptance. During the run of the show, March 23'4 until April 6th, the Concourse Gallery was painted in panels of red-ochre, slate green and black. This colour scheme plus special secu- rity personnel provided by local First Nations (among the highly valued pieces in the show was work by the late Bill Reid) were elements of the exhibition that marked the sym- bolic and real reclaiming of ground by First Nations artists. The exhibition functioned not only as a visual art show with work in diverse media including ceramics, painting, video, electronic communications design, and button blan- ket-making — it was a celebratory gathering. Many of the 42 participants in the show were present at the official opening, some travelling from as far away as Montréal. Among those present from First Nations in the Lower Mainland were Danny Gonu and Saul Terry. Both are now chiefs, Terry car- rying additional responsibility as President of the Union of B.C. Indian Chiefs. Gonu (1965) and Terry (1968) are the first two students of First Nations heritage to graduate from Emily Carr Institute. At the time they attended, the Institute was located on Dunsmuir Street and was called the Vancouver School of Art. In recognition of their important place in the history of First Nations students at the Institute, each was presented with a fully beaded pair of ceremonial moccasins made for the occasion by Ray McKeown. A few of the other widely-known First Nations alumni the public was able to meet at the gala opening were Robert Davidson, Bill Reid, Laura Wee Lay Laq, and Lawrence Paul Yuxweluptun. While the show was a milestone in giving recognition to First Nations art and artists in connection with the evoly- ing mandate and curriculum of Emily Carr Institute, it also had practical significance to a number of local First Nations youth. A work shop and tour was organized for 20 First Nations secondary students coinciding with the exhibit. This oppor- tunity allowed them to evaluate how the facilities offered at Emily Carr Institute suit their artistic visions and ambitions. The work shop included hands-on demonstrations in the sculpture casting area as well as guidance on portfolio devel- opment as it relates to art school admissions. The Liliget Feast House provided a special luncheon to the work shop participants. Chartrand’s stint as a researcher at the Institute will come to an end in June, when she heads off to Saskatchewan to pursue her fine arts education at the masters level. Large strides have been made at the Institute since she inaugurat- ed First Nations Awareness Day in 1994. Chartrand’s success in organizing Here and Now: First People’s Perspectives, 1964 — 1997 will bring forward a living legacy that is a vital part of the history of the Institute and British Columbia. ©] Robert Davidson In the Eye of the Beholder Silk screen print Kajola Morewood Cake Secret #3: Mix Carefully Colour photograph Saul Terry Bear Black basalt THE INSTITUTE spring 1998 / plonet of the arts 47 Institute Showcases First Nations Alumni Ground-breaking exhibit at ECIAD By Harald Gravelsins he Concourse Gallery at Emily Care Institute was Milled to capacity atthe March 25% opening for Here and Now: First 1964-997 The shove marked the First time Emily Care Insite and quit likely at any post-secondary school in Canada, that First Nations art and design alumni hae been celebrated by {heir alma mater through an exhibition of thie work es asa first ime opportunity for many ofthe alumni to show their pers what they ad been doing since gradu. ing. from Emily Care” commented judy Chartrand (Chartrand son contract a researcher forthe development fof a Centre for Contemporary First Nations Art at Emily Carr Institute CChartrnd came wp with the idea of a First Nations alumni show last al during her work to compile historical Information on students of First Nations ancestry who have studied atthe Insitute. Her idea gained quick acceptance Daring the run ofthe show, March 23 until Apri the Concourse Gallery was painted in panels of red-oche, slate green and black. This colour scheme pus special secu ‘ity personnel provided by local First Nations (among the highly valued pices inthe show was work by the Int Bill Reid) were cements ofthe exhibition that marked the sym bolicand real reclaiming of ground by First Nations artists. The exhibition functioned not only asa visual art show with work in diverse media including ceramics, painting, video, electronic communications design, and button blan etomaking ~it was a celebratory gathering. Many ofthe 42 participants inthe show were presenta theofficial opening, ome traveling fom as faraway as Montréal, Among those present from First Nations in the Lower Mainland were Danny Gon and Saul Terry. Both are now cies, Terry cat ‘ying addtional esponsibility as President of the Union of BC. Indian Chief {Gon (1965) and Trey (1968) ae the ist two students of Fist Nations heritage to graduate from Emily Care Istitte, [At the time they attended, the Institute was located on Dunsmuir Street and was called the Vancouver School of ‘Aat-Inrecogition of thee important place inthe history of First Nations stadens at the Institute each was presented Sri ely ell pcre sma at the occasion by Ray McKeown, A few of the other wiely-known First Nations alumni the public was able to meet atthe g opening were Robert Davidson, Bill Rid, Laura Wee Lay Lag, and Lawrence Paul Yooweluptun, While the show was milestone in giving recognition to First Nations art and artists i connection sith the eval fing mandate and curriculum of Emily Care Institute it also had practical significance toa number of local First Nations youth A workshop and tour was organized for 20 Fits Nations secondary students coinciding withthe exhibit. This oppor tunity allowed them to evaluat how the facilis fered at Emily Car Institute suit their artist visions and ambitions The work shop included hands-on demonstrations in the deve: sculpt casting area as well as guidance on port ‘opment a it relates to att school admissions. The Lilget Feast House provided a special luncheon tothe wo participants Chartrand’ stint asa rescarcher atthe lstitte will come to an end in June, when she heads off to Saskatchewan to pursue her fine arts education at the masters level. Large rides have been made a the Insitute since she inaugurat oF Chartrand’ sucess in organizing Here and Now: First People's Perspectives, 1964 ~ 1997 will bring forward a living legacy that isa vital part ofthe history ofthe Institute and British Columbia. 2 Nations Awareness Day in 1994 Black base jola Morewood (Coke Secret #3: Mx Carefully Colour photograph Robert Davidson In the Ey of the Bolder