\ ‘ AYA JDEN On Wednesday, March 28th, Tom Hudson outlined several aspects of the faculty evaluations and the Helen Pitt Graduate Awards. Following is an edited version of our talk with him. HARRY McINTYRE: The information we students have had to work on concerning the faculty evaluations and administration intentions has been second hand information, which to put it mildly has been confusing. DEAN HUDSON: The faculty evaluations are a constructive, not a punitive situation. This. is a means of improving personal stan- dards in teaching and improving educational standards in general. The information is divulged only to the evaluation committee and the individual faculty members involved. HARRY: Wouldn’t there be a possibility that teachers would recognize their students’ handwriting on the evaluation forms, thus eliminating the element of confidentiality? TOM: We had considered that possibility, which is why the individual faculty files are typed out and are not the original handwritten sheets. | would like to add that the faculty evalua- tions were collectively agreed upon; the results of these evalua- tions have not been ratified by the board of the art college. GORDON MOORE: Where did the idea originate of faculty evaluations and the methodology used in carrying it out? TOM: The faculty evaluation concept originated under the Stu- dent Services Committee. The method was agreed upon by the Principal’s Advisory Committee. HARRY: So this wasn’t something dropped out of the blue, the faculty representatives were privy to these developments from the beginning. TOM: Yes, everything was negotiated with the Faculty Associa- tion and administration as to the form and procedure to be used in these evaluations. GORDON: What are the contracts offered? TOM: The evaluation committee has three options: that of offering the faculty members a three year contract, a one year probationary contract, or no contract at all. This as well was agreed upon by the Faculty Association. HARRY: Mr. Hudson, what sort of a contract are the administra- tion under? TOM: We are under a one year contract. HARRY: Who are the members of the evaluation committee? TOM: The evaluation committee is made up of the following: the principal of the college is the chairman. | am a member by the 60 140° 120° 100°90°60" 60° 40° a ; TOG LA Ss ) Peds we x ) nN = me ff y ¢ SUA Hee JO E aan ss y Gres ys RY —~ y eh te . at 19) Pas Rey TY ( c) SPAS ( t rai es S98) at: re = AUB 4d) seers, Ole 4 A e as : Pr . ERIC sd] u we Mexico Yor Z 12 1 Def 60° Yankee Dream The Taylor and Ramsey proposals and the Senate’s action in July, 1868, preceded the adoption by the Canadian Parlia- ment of its own resolution authorizing absorption of the Northwest by the Dominion. In point of time, therefore, the Americans had a good argument: they were at least as eager as the Canadians were to extend the protection of their flag and the benefits of their commerce to the sparsely peopled prairies. And, as usual, the Yankees had more money. right of role as the dean. Also there are the respective divisional chairmen. HARRY: Does that mean if a printmaking instructor is evaluated, the 2-D divisional chairman would be present, the 3-D chairman if a sculpture instructor is evaluated and so on? TOM: Yes, we also have one student representative and two external members agreed upon by the faculty and administration. They are Rudy Kovacs as the design representative and Toni Onley as the fine arts representative. HARRY: Will this be the standard format for faculty evaluations? TOM: I wish to discuss Faculty Evaluations with both faculty and students at a later time to develop a different approach. | would also like to mention that the administration have undergone an evaluation procedure as well. Last week we went through an internal evaluation where each administration member presents an evaluation of fellow members. GORDON: This information‘will not be public either? TOM: No, that information will be made accessible only to indivi- duals involved within administration. HARRY: Will there be an external evaluation procedure as well? TOM: The external evaluation of administration is done by the Board committee, who judge each administration member accord- ing to their prospective roles. This committee is comprised of the Principal or Dean, one faculty head, one student representative and two members of the Board of Governors. ! would like to go back to the Faculty Evaluations for a moment. The information coming out of the evaluations was computerized to make sure there wasn't any outstanding dif- Volume 1 Number 14 atta __ Emily Carr College of Art April 2, 1979 ference between the evaluation committee findings and the computer analysis. HARRY: Are there any specific impressions that you've been able to draw from the student participation in these evaluations? TOM: By and large we see that the students are thinking of their “education”. There is a feeling that some staff do not competently explain the sorts of experimental educational processes that students are undergoing. I believe that students, who are here in receipt of art educa- tion, are given credence by the administration. HARRY: Do you see the student participation in the evaluations as serving a democratic function? TOM: Definitely. We are entering a new phase in art education where there is more reliance on ideas, experimentation in finding one’s direction rather than the old formula of students sitting at the feet of the master. The college is going through a period of intense transition. | feel that this is a chance of a lifetime to be a part of the develop- ment of the college. This is a great opportunity for all involved. | hope that in this transition period that people won't lose confi- dence. This will be one of the best art colleges in North America someday. HARRY: Will there be any findings of the evaluation process made public? TOM: Nothing of a confidential nature can be divulged at this time. | am of the position only to comment on the procedures involved. GORDON: Are we able to discuss the Helen Pitt Graduate Awards for a minute? TOM: The selection procedure for the Helen Pitt Graduate Awards is much more “‘simplified’’ than last year where there were three different stages undertaken. Last year there was an internal selection by faculty within the college, a second selection by three representatives of the fine arts institutions involved, and the final selections by an external assessor. This year there is only an external assessment with the external jurors chosen by the Art Gallery of Greater Victoria. The Registration for ECCA students in the Summer Institute will take place April 30 to May 4. Current students will be eligible to enrol for these courses before the general public. After that week, enrollment will be on a first come-first served basis. —Student Services Published by Student Services Emily Carr College of Art 249 Dunsmuir Street Vancouver V6B 1X2 adjudication, form of selection, criteria of selection and transporta- tion problems are all the responsibilities of the Art Gallery of Greater Victoria. HARRY: Do you know who the assessors are? TOM: No. They have not been appointed as yet. HARRY: Are there any other significant changes in the format? TOM: Yes. Photography is included as a category this year, as well as drawing, painting, sculpture and printmaking. Photography also includes video and film. The awards are the same: $15,000 is the total and no individual award will exceed $5,000. All students selected to participate will receive an artists’ fee for their participa- tion. : GORDON: What is the date of the selections? TOM: The jurors will consider work on April 21, 22 and 23, at depots in both Victoria and Vancouver. The location of the depots will be announced in the next few weeks. All students who wished to be considered have had to fill in an application form and send it to the Victoria Art Gallery this year. HARRY: What is the date of the exhibition? TOM: Wednesday, June 6th is the official opening date and Sunday, July 15th the closing date. ss How to apply The first year of the Outreach Program is bringing more than 75 workshops and short courses to 38 B.C. communities. We have 39 artists from a number of B.C. communities, plus the Yukon, Alberta, and Ontario. Student Ingrid Yuill and graduate Ellen Zeiss went along with ECCA instrictors Jim Bruekelman and Tam Irving to their first Outreach workshops and have written about what it’s like to be an Outreach Artist-Teacher. Here are their reports. —Nini Baird AT THE JACKASS FRUITSTAND IN KEREMEOS | assisted Tam Irving at a pottery workshop in Keremeos. The workshop was given on a windy January weekend at The Jackass Fruitstand to a group of 11 eager beginners. Our first meeting with the group was Friday evening. By way of introducing ourselves to them, we began with a slide presenta- tion of Tanis Studio and pots and my pots made at the Art School. Tam then suggested a program for the weekend: on Saturday, demonstrations of wheel throwing, a slide show of student work, and a work session for the participants; on Sunday, more demon- strating, a slide presentation of historical pots, another work session, and a discussion period. We brought a selection of books and magazines on pottery for them to look at. We also handed out a bibliography of ceramic material and had on display a few pots of our own for them to see. Tam then asked for a response to the plan he suggested and for information about their work, in order to get an idea of what their needs were. He asked if there was anything in particular they wished to do during the workshop. The concensus was to follow his plan with an emphasis on their need for very basic instruction. My impressions of the weekend are very positive. It was an intensive, exhausting session. We all managed to work in a very small and crowded space. The participants were enthusiastic and fun to work with. Because of the concentration of time spent together and the number of participants involved, a variation of activities was im- portant. A change of pace was accomplished by dividing the time into demonstrations, slide shows, work sessions, and discussions. The skills, attitudes, and information we presented to them seemed to be most effective in conjunction with practise sessions during which individual help could be given. Isolation appeared to be a big factor in their attitude toward their ability to pot. It, in fact, made them underestimate the skills they already had acquired on their own. A partial solution to this problem was to expose them to new sources of information: a discussion on the use of local materials for clay and glazes, slide presentations of historical and contemporary pots, a bibliography on pottery, ceramic magazines, and craft organization newsletters. In conclusion, the objective of the workshop was to not only teach and stimulate them during the weekend, but also to give them a direction to follow on their own after the workshop had ended. .. Ellen Zeiss IN THE ‘ONLY’ ART ROOM IN MACKENZIE Learning to interact with people from all walks of life seems to fit the definition of “OUTREACH” very well. This program was designed by Nini Baird to provide practical experience in community teaching as artist-teachers in other community-oriented art programs after graduation. On my first workshop, | was sent to Mackenzie, B.C., with Jim Breukelman. It was a very intensive and busy weekend. The students, ranging in age from 18-60 years, were loaded with ques- tions. Their varied interests and concerns made for lively and worthwhile discussions. | found this to be very stimulating as well as challenging, as it forced me to think in a very concentrated way, and to share information and experiences obtained as an artist. An apprentice can assist the instructor in such obvious tasks as helping set up, which gives them more time to talk and interact with students. Also, the apprentice can do demonstrations and prepare materials before or during lectures. When time is limited, and people are willing and wanting to see and learn as much as possible, the preparation and assistance helps a lot. Listening to straight lectures, | found myself taking notes for —continued on page 4 Volume 1 Number 14 Emily Carr College of Art (On Wednesday, March 28th, Tom Hudson outlined severl aspects of the faculty evsluations and the Helen Pitt Graduate Awards otowing san edited version of our a with hm HARRY McINTYRE: The information we students have hed to ‘work on concerning the feculty evaluations and administration Intentions has been second hand information, which to put i mildly hes been confusing. \ DEAN HUDSON: The faculty evaluations ae a constructive, not ® punitive situation. The i a mane of improving personal stan {ards in teaching and improving educational standards in general. ‘The information is divulged only tothe evaluation committee and LL the individual fecutty members involve. HARRY: Wouldn't there be a possb ‘ecognize their students’ handwriting on the ‘thus eliminating the elament of confidentiality? TOM: "We had considered that possibility, which is why the — ndviduat faculty files ore typed out and are not the original handwritten sheets, I would like to add thatthe faculty evalua tions ware collectively agreed upon; the results ofthese evalua tions have not been ratified by the board ofthe art colloge LL GORDON MOORE: Where id the idea originate of faculty rodology used in earring tout? tion concapt originated under the Stu ty that teachers would lation forms, faculty representatives were privy to these development fom the Deainning ‘TOM: Yes, everything wos negotiated with the Faculty Associ jon ge to the form and procedure to be used ‘ar the contracts offered? ‘TOM: The evaluation committe hos three options: that of offering the feclty members a three year contact, 8 one year robetionary contract, or no contract at al Soreed upon by the Faculty Asocietion. "Thi oF wall wat HARRY: Me. Hudson, whet sort of «contrat are the administra LL tom under? tation committe? sation committe is made up of the following: the brinipal of the college isthe chairmen. I'am a member by the Yankee Dream — The Taylor and Ramsey proposals and the Senate's action in July, 1858, preceded the adoption by the Canadian Pali ‘ment of ite own resolution authorising absorption of the Northwest by the Dominion. In point of time, therefore, the Americans had a good argument: they were at least as eager 4 the Canadians were to extend the protection of ther 83g land the benefits of their commerce to the sparsely peopled prairies, And, at usual, che Yankees had more money. right of role asthe dean. Also ther a chairmen, HARRY: Does that mean if «printmaking instructor is evaluated, the 2D divisional chairman would be present, the :D chaiemon i ‘Sculpture instructor is evaluated and soon? ‘TOM: Yes, wo also have one student representative and ‘wo external members agreed upon by the faculty and administration. They are Rudy Kovacs asthe design representative nd Toni Onley 15 the fine arts representative. HARRY: Wil this be the standard format for faculty evaluations? ‘TOM: | wis to discuss Faculty Evaluations with both faculty and students at later time t0 develop a diffrent approsch. | would Gio tke to mention thatthe administration have undergone an foluation procedure as wall. Last week we went through an Internal evaluation where each administration member presents on taluation of fellow members GORDON: “Tis information wil the respective divisional be public wither? Board committee, who judge each administration member accor: ing to thet prospective roles. This committee is comprised ofthe Principal or Dean, one faculty head, one student representative ‘nd two members ofthe Board of Governors. i T would ike to go bock to the Faculty Evaluations for a moment. The information coming out of the evaluations was Ccomputeried to make sure there wasn't eny outstanding di April 2, 1979 {erence betweun the evaluation committee findings and. the computer analysis HARRY: "Are there any specific impressions that you've been able to draw from the student participation in these evaluations? ‘TOM: By and large wo soo thatthe students are thinking of their “adcation”. There is feeling that some tft do not competently ‘explain the sorts of experimental educational procases thet ‘Students are undergoing. Talieve that students, who aro here in receipt of art educa lon, are given eredence by the administration. HARRY: Do you se the student participation inthe evaluations ‘serving a democrat function? TOM: Definitely. We ng new phase in at education were there is more reliance on ideas, experimentation in finding ‘one's direction rather than the old formule of students sitting at the fet ofthe mast. “The college is going through 9 period of intense transition. 1 ‘eo! that this ss chance of lifetime to be part of the develop ‘ment of the college. This sa great opportunity for all involve. hope thet in this transition period thet people won't lose cont: ‘dence, This will be ane of the best art colleges in North America Samed. HARRY: Will thore be any findings of the evaluation process ‘made public? ‘Nothing of a confidential nature can be divulged at this, 1am of the postion only to comment on the procedures involve, GORDON: Are we able to discuss the Helen Pitt Graduate Awards TOs: "The selection procedure for the Helen Pitt Graduate Awards is much more simplified than lat year where there wre three differnt stages undertaken. Last yeat there wes an internal folection by faculty within the cole, a second selection by th represantatives ofthe fine atts institutions involved, and the Final Selections by an external essessor ‘This yeor there is only. an external asessment with the ‘external jurors chosen by the Art Gallery of Greater Vitoria, The Registration for ECCA students in the Summer Institute will take place April 30 to May 4. ‘Curront students willbe eligible ‘0 enrol for these courses before the general public. After that woek, enrollment will bbe on a first come-frst sorved bass. Student Services Published by Student Services Emily Core College of Ar 249 Dunsmuir Strost Vancouver V6B 1X2 adjudiation,t tion problems Greater Vitoria HARRY: Do you know who the assessors are? ‘TOM: No. They have not been appointed ae yet. HARRY: Are there any other significant changes in the forma TOM: Yes. Photonraphy is included os 9 eatopory this your, 22 well ss drawing, painting, sculpture and printmaking, Photography ‘The ewards ore the same: $19,000 the total and no individual award wil exceed $5,000, Al students Selected to participate wil receive an artists foo for their participa tion GORDON: whet is the dato of the elections? TOM: The jurors will consider work on April 21, 22 and 23, a depots in both Victoria and Vancouver. The location of the depots ‘wil be announcad in the noxt few week, All students who wished to be considered haved to fillin an application form and sand it to the Victoria Art Gallary this year, HARRY: What i the date of the exhibition? TOM: Wednesdey, June 6th isthe official opening date and Sunday, duly 15th the closing dat of selection, criteria of selection and transports reall the responsibilities of the Art Gallary of How to apply The fist year of the Outreach Program ie bringing more than 75, Workshops and short courses to 38 B.C. communities, We have 439 arate from a number of B.C. communities, plus the Yukon, Alberta, and Ontario. Student Ingrid’ Yuill and graduate Ellen Zeiss wont along with ECCA instrictors Jim Gruskelman and Tam Irving to their fst Outreach workshops and hve written about what i's like to be an Outreach Artis-Teacher. Hore are thet Nint Bai [AT THE JACKASS FRUITSTAND IN KEREMEOS 1 ossstes Tam Irving at 2 pottery workshop in Keremeos, ‘The workshop wat given on a windy Jonuary weekend at The Jackass Fruitstand to group of 17 eager beginners ‘Our frst meoting with the group wes Friday evening. By way of introducing ouranves to thom, we bopan with # slide present. tion of Tanis Stadio and pots nd my pots made at the Art Schoo! ‘Tom then suspested program for the weokond: on Saturday demonstrations of wheal throwing, sideshow of student work, tnd 2 work session forthe participants; on Sunday, more demon ftrating, 2 slide presentation of historia! pots, another work Session, and a discussion period. We brought a saecton of books hd mopazines on pottery for them to look at. We also handed ‘out « bibliogrphy of ceramic material and had on display a few ots of our own fr them to se. ‘Tam thon asked for response to the plan he suggested and {or information about their work, in order to get an ideo of what their needs were, He asked if there was anything in particular they ‘wished to do during the workshop. The concensus was to fellow his plan with an emphasis on their noed for very basi instruction. My impression of the weekend are very positive. It wet an intensive, exheusting eaion. We all managed to work in a very ‘small and crowded space. The porcipants were enthusistic and ‘Because of the concentration of time spent topether and the umber of partiipants involved, a variation of activities wos im portant. A change of pace was accomplished by dividing the time Into demonstrations, slide shows, work sessions, and disussons. ‘The sil attitudes, and information we presented to them ‘eomed tobe most effective in conjunction with proctiz sessions ‘daring which individual hap could be given. Tuolation appeared to be a big factor in ther attitude toward their ability to pot. It infact, made thom underestimate the skills they already Bad aequired on thee own. A pata solution to this problem was to expose them to new sources of information: ¢ tscussion on the uaa of local material for clay and gaze, side Presentations of historical and contomporary pots, a bibliography fon potter, caramie magazines, nd eraft organization newsletter In conclusion, the objective ofthe workshop was to not only teach and stimulate tham during the weekend, but also 10 ive them a diretion to follow on ther own after the workshop had dd. IN THE ‘ONLY’ ART ROOM IN MACKENZIE Learning to interact with people from all walks of ie seems to fit the dainition of “OUTREACH” very well. This program ‘was designed by Nini Baird to provide practical experience in ‘Community teaching ot artist nochers in other community oriented programs after graduation, ‘On my frst workshop, | was sent to Mackenzie, B.C. with sim Groukelman. 1 was a very intensive and busy weekend. The $tudents, ranging in age from 1860 years, wore losded with ques: tions, ‘Their varied interests and concerns made for lively and ‘worthwhile discussions. | found this tobe very stimulating as wel Schllenging, sit forcad mo to think in avery concentrated wa. tnd to shoe information and experiences obtained a6 an a ‘An apprentice can asst the instructor i such obvious tasks helping sot up, which gives them more time to talk and interact ‘with students, luo, the apprentice can do. demonstrations and prepare materats before or during loctues. When time is inited, nd people are willing and wanting to see and learn as much as ‘onsibl, the preparation and assistance helps 9 ot Listening to straight lctores, I ound myslf taking nots for continued on page 4