Photograp at the Millennium Recent Photography Exhibition Illuminates the Potential for Student Run Shows at ECIAD. by Leslie Grant Photism: New Camera Work, which ran February 14 — 22 in the Emily Carr Institute Concourse Galley, was an exhibition of photographic works by photography, design and sculpture stu- dents. It included a wide diversity of theme, materials and con- struction; this freedom of expression being made possible by the open-ended nature of the show. Photism, as the name suggests, concerns all types of photographic processes, or methods of illu- mination. It is in this acceptance of all work submitted, and the community effort involved in putting the show together, that set this show apart from past student shows in the Concourse Gallery. Photism originated as an idea by Carlos Mendes who, after a conversation with Harold Gravelsins concerning the work submitted for scholarship applications in the photography depart- ment, decided that it "was a shame that most of the work being presented... was never going to be seen by the general public or by the ... Emily Carr community because this was for a select group of people that would decide whether or not a work was worthy to receive money." Mendes imagined a show that would follow along the same lines as the scholarship applications; therefore including all work submitted regardless of theme or content. Thus the show would have no central theme, and would be unjuried. The only stipulation was that the work had to be ‘finished’; either framed, or using a hanging/framing method that supported the ideas in the work. Thus the predominant ideas behind the show focused on exhibiting work without any criteria used to judge it before hand, and the insistence on a community effort. A large amount of publicity was generated to insure that a wide audience would be aware of the exhibition. The use of a website furthers this aim; with student work on-line, the audi- ence is limitless. The use of this technology helps to de-emphasize the exclusivity that can be associated with the gallery space. It can also reach an audience beyond those who are capable of attend- ing the show for whatever reasons. Mendes explains, "just because you cannot physically get to a show doesn’t mean that you should not have access to it, and the website allows for that. "This desire to be inclusive rather than exclusive, to involve the community at large, echoes the lack of restrictions placed on participation in the show. Despite the possible difficulties associated with the viewing Photism in Focus by Sean Clancy (Phot)ism was the name of a photography show that was held between February 14th and 22nd in the Concourse Gallery here at ECIAD. At first I did not pay particular notice of the images in the show, and walked through the gallery with no more than cursory glances. It was only after I was asked to do a review of the show that I came to appreciate how much time and effort went into the show. It was well laid out and made great use of the Concourse Gallery, which some people love, and some peo- ple hate (personally, I think that it would make a great floor hock- ey arena when the walls aren’t out). There was enough content to keep the viewer occupied for more than just a few seconds, and yet they weren’t overcome with images. There were approximately 40 artists participating, over-all, I felt the pieces were technically excellent, and the varied subject matter refreshing. Of them, I have chosen a few to review. First off, I would like to address a series of eight seleni- um toned B+W prints titled The realities, although “Look at me, I’m a series of photos with knives and pee-pees” would also have been suitable. It was hard not to notice them, as a series of nudes with large knives in precarious positions tends to attract attention (mine anyways.) I find that anything that relies on shock value leaves me wanting, and yet, after reading the artist’s statement I felt the pieces were more justified in their use of subject matter. Gural’s statement included the quote that "...the erotic and the violent are tied as sex and death are bound as one exhilarating leap." This is only part of the statement that leads one to believe that life’s emotional extremes are cyclical in nature; i.e., love is close to hate, etc. The prints were well done, and the presentation was good, but I found that eight pieces relating to only one aspect of the cyclical nature of life was somewhat disappointing, and that one print would be more powerful than eight, or that there could $ o & s = = S = ry 2 2 q of a themeless show (for example, the lack of a starting point by which to enter the individual work, or the inability to tie the works together), there are positive elements that, in the case of the Photism exhibition, can be seen clearly. Mendes discusses this per- missibility when he says that the show incorporated "the idea of freedom to choose what you want to present and then to not be judged.on what quality, what some individual, or a group of indi- viduals, deems as being good enough for a particular exhibition." He goes on to explain that, "when you’re looking at student work that is in the stages of development, where there is diversity of theme that each person is trying to develop... the common theme lies in the fact that it is produced in a community." He stresses Continued on page 32 Taking a Look at the “New Camera Work’ be more prints that addressed the other polar opposites in human nature that are in reality so closely tied. In short, there was a lit- tle more here than just some "nudes with knives", but I think there could be more if the piece addressed some of the other issues raised. The word "overkill" comes to mind when looking at this piece. The next piece of work that caught my eye was a piece titled St. Patrick’s Day Parade, Boston, 1998. It was a series of six colour prints taken while the photographer, Kathryn Mussallem, was studying in, of all places, Boston. Before even reading the artist’s statement, I was taken in by not only the colours, but the movement and excitement of the photos. The pomp and circum- stance that they captured was incredible. While viewing, if you tried hard enough, you could almost hear the crowds. This feel- ing of excitement was further enhanced by the blurring of the images, I almost felt nostalgic until I realized that I had never been to Boston before. These images are timeless, and before reading the title, I thought that they were twenty-odd years old. These photographs could feel right at home in a "National Geographic" spread on Boston, and I mean that in a good way; they really captured the moment. I enjoyed them. The next piece that caught my eye(s?), was titled From the Company Fieldbook: 1998 Survey of the Streams of Vancouver-- Collingwood to Keith. First off, they were litho prints over a metal- lic background, surrounded by black matte and frames. There was a series of eleven photos that followed a map highlighting the streams of Vancouver lost to urbanization. Interesting subject matter was further enhanced by really cool photos, and with the added dash of cynical humour, the package was complete. This piece didn’t keep my interest very long, but when I received back the images I had. taken of the show, one particu- Photism showed that you don’t need a professional gallery to present a professional show. larly stood out. “ Link00” by Ian Wilson was an assemblage made of construction materials and a viewer operated back lit trans- parency that reflected off the glass behind the piece. It was extremely tactile and raw, and the placement was well executed. This piece really grew on me. Trainscapes, by Trudi Smith, was a series of five colour photos that were focused on the window pane itself rather than the barely recognizable landscapes beyond. They were interesting because of the fact that by causing the viewer to struggle to see the landscape beyond, the images avoided remaining mundane. There was an obvious background/ foreground struggle going on here. These photos are what they are, no subject matter to dwell on, but I don’t think that’s the point. Last but not least is Eric Emery’s piece titled New TOYS R’ US on Broadway, 1998. It is approximately 6’x 8’and consists of blue and brown toned, painted prints on a brown wood frame. Although the idea is interesting, I didn’t find the colour combination at all appealing, and the subject matter was not engaging. I liked the way the images had a greasy, hazy look to them, but I felt this was somehow disrupted by the fact that they were mounted on coarse wood. It would have been interesting to see other images of the genre by the same photographer/painter to compare this piece to. All in all, (PHOT)ISM was one of the better shows I have seen come and go through the gallery. This show was a sign to me that the photography program is alive and kicking at ECIAD. : Influx: Magazine March 1999 = 3 PH, TIs Photography at the Millennium Recent Photography Exhibition Illuminates the Potential for Student Run Shows at ECIAD. by Leslie Grant hovism: New Camera Work which ran February 14 22 inthe Emily Care Institute Concourse Galley, was an exhibition ‘of photographic works by photography, design and seuleuresta- Gens included a wide diversity of theme, materials and con ‘eructon; thi feedom of expresion being made possible by the ‘open-ended nature ofthe show. Photm, asthe name SUageSS, ‘oncers all types of photographic processes, or methods of ilae ‘mination. Iti in this acceptance ofall work submitted, and the ‘community effort involved in putting the show together, that set this show apart from past student shows in the Concourse Galley. Phi originated a8 an idea by Carls Mendes who, after a conversation with Harold Gravelsins concerning the work Submitted for scholarship applications in the photography depart- rent, decided thats "was a shame that most of the work being presented...was never going tobe seen by the general public or by the .. Emily Carr community because this was fora select group fof people that would decide whether or nota work was worthy to receive money." Mendes imagined a show that would fllow along {he tame lines a the scholarship applications: therefore including all work submitted regardless of theme or content Thus the show ‘would have no central theme, and would be unjuried. The aly SUpulation was thatthe work had 0 be “inshed’ either famed, fr using a hangingfaming method that supported the ideas in ‘the work. Thus the predominant ideas behind the show focused fon exhibiting work without any criteria used to judge it Before hand, andthe insistence ona community effort. Alarge amount of publicity as generated to insure that a wide audience would be aware of the exibition. The we of ‘website furthers this aims with stadent work on-line, the audi- ‘ace is limes. The use of this technology helps to de-emphasize ‘the exchuniity that can be associated withthe gallery space. Tecan ‘so reach an audience beyond those who are capable of attend ing the show for whatever reasons. Mendes explains, jst because you cannot physically gett a show doesn't mean that you should nothave acess tit and the website allows for that. "This desire to be inclusive rather than exclusive, to involve the community at large, echoes the lack of restrictions placed on participation inthe show: Despite the possible difficulties associated with the viewing Photism in Focus of a themeless show (for example, the lack of a starting point by ‘which to eter dhe individual work oF the inability to te the works together), there are postive elements that, in the case of the ‘Posi exibition, can be sen clearly. Mendes discusses this per- ‘missbiity when he says thatthe show incorporated “the idea of freedom to choose what you want t presen and then to not be judged on what quality, what some individual, oa group of ind ‘viduals, deems as being good enough fra particular exhibition He gocs om to explain that, "when You're looking at student work that isin the stages of development, where there i diversity of ‘theme that each person i tying to develop... the common theme lis in dhe fat that it produced in community” He stresses Continued on page 32 bySeancleney Taking a Look at the “New Camera Work’ (Phopim was the name of a photography show that was held between February 14th and 22nd in the Concourse Gallery here at ECIAD. At Bist didnot pay particular notice of ‘the images in the show, and walked through the gallery with no sore than cursory glances. Tewas only after Tras asked todo a review ofthe show that I came to appreciate how much time and ‘fort went into the show. twas well laid out and made great se ofthe Concourse Gallery, which some people love, and some peo ple hate (personally, think that it would make a great floor hock- fy arena when the walls arent out) Thee was enough content to keep the Viewer occupied for more than just a few seconds, and yet they weren't overcome wit images. ‘There were approximately 40 artists participating, ‘overall fl the pieces wore technically excellent, and the varied Subjet matter reffeshing OF Uhm, Thave chosen a fet to eve First off I would lke to addres a eres of eight seen um toned B+W prints tiled The realities, although “Look at me, Tm a series of photos with hives and peepee” would also ave Been suitable. Tewas hard not to notice them a series of mudes with large fnives in precarious postions tends to atract atenion (eine anyways) find that anything that relics on shock value leaves me wanting, and yet, after reading the arti’ statement I {ele the pcces were more jasifed in their use of subject matter