SPOHSHSHSSHHSSHSHSHSHHSHSHOHHSHSHSHSHSHSHSHSHSHSHSHSHHSHSHSHSSHSHSHSHSHSHHHSHSHSHHSSHHSHSHSHHSHSHHSHHSSHSHSHSHSHSHSHSSHSHHSHSSHHSSHSHSHSHHOHSHSHHSHHHSHSSHSHSHHSHSHSHHSHSHSSHSHSHHSHSHHSHSHHSHSHSSSHSHSHSHSHSHSHOHHFHHHHSHSHHHSSHSHHSHSHSHSHHSHSHSHHSHHHSHSHSHSHSHSHSHSHSHSHSHHSHHHSHHSHSHHSSHSHSHSHSHSHHSHSHHHSHSHSSHHSSSHOSHSHSSSESSESESEEEE @eeceeeseeaen eee eeceeaeeeeeoeeeeeoeeoeeeeeeeeeoeeeeeee Typeset by MAKARA Publishing & Design Co-op Printed by Press Gang Printers, Vancouver. \aiiat : \. Z Women coal-bearers, Scotland, early 19th century. Coai was often carried in this way from depths exceeding 100 feet. The implications for contemporary artists are as intellectually clear as they are difficult to realize con- cretely. It simply is “not good enough” to continue to issue ringing indictments of social forces, political systems, or even of reality itself, unless these are integrated with a practice which seeks to embody and bring into being the fruits of its preachings. It is no longer good enough to practice an art whose fundamental characteristics are the glorification of suffering, the striking of a pose of heroic resignation, and the reflection of that epistemo- logical-psychological chaos which comprises the initial stages of self- understanding in our society. It is easy to say this, but it is not easy to know where to begin to change. As isolated indviduals confronting a monolithically op- pressive reality, we are clearly helpless; thus any significant altera- tion in our personal circumstances must commence with an embracing of the notion of collectivity, with a rejection of historical traditions of artistic individualism whose con- temporary analogues are fragmenta- tion and ineffectuality. This will still be inadequate, however, if it results in building collective solitudes and calling them “peace;” head changes are not real changes, and the collective privatization of thought is not the collective commitment to action. ,lt is only the simultaneous change of both external cir- cumstances and the self which can be conceptualized as a potentially meaningful praxis, which can potentially nurture that totally op- posed consciousness capable of withstanding our culture’s total assault. &e paul stuewe COOH HSHOHOHHH OOOOH OHOEHOHEEHOEOOOOOOEOOEOOEOOEF SOHOHSHHSHSHSHHSHHOHSHHSHHSHSHHSHSHSHHHSHSHHHSHHHSHHSHSHHHHHSHHSHHHSSHHSHSHHHHHSHHHHHHHHSHSHSHSHSHSHSHHSHSHSHSHHSHSHSHHSHSHHSHSHSHSHSHHSHSHSHHHHSHHSHHHHHHHSHHHSHSHHHHSHHSHSHGAHSHSHSHHHSHSHOSSHSHHHHSHHSHSHSHHHSHSHHSSHHHHHSHSHHSHHSHHSHHSHHHSHHOHHSHSHOHHOHHOHHGHHHOHSHHOHHHOSHOHOHHOHOHOSHEOSOHESEe JOLY YOO EF #7 Out of head they fly Leaving scars. Unwelcome friends these demons Mumbling for attention Believing in their contribution to Art. #2 That largest intelligence Floats heavy To the perceptive lover. Content flies Form plays in its path Lightly. KLYMAN The searing political wit of Bill Featherbed It is not often that the Vancouver Art Gallery is witness to a body of work that is so volatile and personal as the show opening this Thursday. William Featherbed is an artist who sees the deep implications of a capitalist system and a dream gone sour. Featherbed pulls no punches. He sees the schisms and econ- omic discrepancies that rule our society and in his paintings and drawings brings home the most basic truth of our system: some can afford and some cannot. Those who cannot can only dream. Featherbed’s metaphor is the large department stores. His work sees these buildings as the epitome of the capitalist system. He mines the same material as Richard Hamilton, another British painter, who observes and comments with a caustic wit on the milieu around him. Featherbed’s people are the misfits of society. They are the sort of people who cannot afford the luxuries or even the necessi- ties, and thus cannot take part in the great dream of social equality. Featherbed’s people are the salt of the earth, the toilers who put in a hard day’s work and drink their evenings away. Like the mill workers in the film ‘‘The Deer Hunter” it becomes a ritual, an existence they don’t question. Much as balling itself can become a social ritual of sorts. Just as going into department stores and seeing these dreams beyond one’s reach, only being able to try on a suit and a coat, and dreaming if but for a second, that it is yours, Featherstone in his work counterpoints these people with the middle class fat cats of society. He pits the dreamer, the outcast of society against the material decadence that the middle class represents. He sees the middle class as being able to buy a coat, mittens or a toque and the outcasts not being able to scrape up a meal let alone these material luxuries. Featherbed is on the side of the outcast. One gets the feeling that Featherbed secretly hopes these people walk out of the department stores with them still on their backs. | believe Featherbed to be a social commentator much as Charles Dickens, subtly commenting and hoping that these obser- vations will prompt society to clean up its act. The message of economic discrepancy is both subtly and hauntingly put forth. You look at his works for a moment and think perhaps you’ve seen nothing. But there is something within you that reacts to his work. Something lures you back to look again and again. The further you go back, the more the layers and the complex metaphorical language unfolds. When this perception hits you, you are then able to appreciate the density of his work. They are metaphors within metaphors, symbols within symbols. When one realizes the ambition of the work, one also thinks of William Blake, one whose personal language was so intricate that he was not under- stood in his day, perhaps not even in this day. Featherbed seems destined for the same fate: an artist not appreciated in his own time, and only recognized when time and the final judge of art aesthetics and history fits things within its proper historical context. The Vancouver Art Gallery, recently the topic of much dis- cussions especially in reference to its sacrifical rituals which would have pleased the God Dionysus, and other comments on the rela- tive safeness of the hash it chooses to sling, must in this instance be congratulated for its perhaps momentary courage in deciding to show the work of an artist who makes devastating indictments of society. The Bill Featherbed show is a tough act for the Art Gallery to follow. We don’t expect a better show to reach the local scene this year. —Seymour Clearly Student Society business The Student Society met again last week on Wednesday at 4:30 pm in the Helen Pitt Gallery. Essentially there were 3 items brought forth for discussion. First of all, Jarda Cikanek, Society president, tendered his resignation. This was accepted unanimously by Society members. Sean Newton was nominated and selected as the acting-President. For how long this will continue no one knows for sure. That was the second item. The third item was a motion which read: ‘‘By virtue of not accomplishing its objectives (as per the constitution), and by virtue of its ineffectiveness as a Student Society, it is hereby moved that the ECCA Student Society be dissolved and that winding up of all SS business proceed as in Section 5 of the Constitution.” This motion received a vigorous debate for approximately an hour and fifteen minutes. It has been tabled until the next Society meeting on the 18th. If you feel at all that this is a motion that concerns you, please attend the next meeting. —co-editors Five parts wine, twenty-three parts water The Alternative Studies Catalogue Committee is pleased to report to the department that the project is now in its final stages and ready to go to the printers. If there are no unforeseen de- velopments, the documents should be ready for distribution around the time of the Graduate Show, that is around May 11- 27th. We anticipate that the necessary details will be taken care of through proper faculty and administrative channels. The purpose of the document is to familiarize the school body, the public and prospective students of the issues that are dealt with in this new department. We have seen the final draft of the catalogue and feel that it is a document which grasps the direction and the pulse of the department. what did the five talk of the night before the execution nothing more can be said about them Reflections about the years at ECCA As a graduating student | would like to reflect for a few moments about the years I have spent at ECCA, and the imprint it has left upon me as an individual, and benefiting from the exper- ience a better human being to enter the real world. Art has now become a part of every fibre of my body. I, and the other graduating students, | feel see ourselves as emissaries in the crusade to bridge the gap that separates art from the public. We see ourselves as creating an awareness of the truths we have had to deal with, and helping people to see the roles they them- selves can play in the next great cultural revolution to sweep our great nation. Of course art is a nationalistic concern. Much like the Olympics, it is our duty to serve the country that has given us birth and show the world that indeed there is a Canadian cultural identity. We as graduating students should put to rest once and for all the caustic myth that Canadian culture is a half empty American coke bottle. The great Canadian painter whom our school is named after searched into the depths of her psyche and realized the haunting mystique of the forest, of the land, and its people. She communi- cated these universal truths in an international context. We have a stake in the development of a uniquely Canadian cultural iden- tity, which will serve as our contribution to future generations of Canadian artists who wish to take the torch and make this the great country that it is. —Seymour Clearly ‘Art is all over where?” This week, on Wednesday the 18th at 12 noon, buttons saying “Art is all over,” will be distributed around the college. They are the product and inspiration of N.E. Thing Co. Students are not expected to wear them in their lip though perhaps they can be pinned to recent work of Frank Stella. All students aspiring tc positions with faculty and administration please take note. George Grenier, whose fingers were frozen solid while instal- ling his latest piece of sculptural painting in Frobisher Bay in February, will be on hand to submit a short eulogy about the Canadian art corpus. The Director of Student Services might be present as well, along with refreshments, but suggests that no questions be asked about how or why the Faculty Evaluations were conducted. A first year student has asked (already), ‘“‘Art is all over where?”’ We refer you to the by-laws and constitution of the Board of Trustees, or to the next visit of David Ireland, one who brought out the schisms, the search for the conscious and the unconscious. At 12:45 pm there will be a reconvening of the Search for Students Committee, which has yet failed to find where students are at. There was a motion tabled last week which proposed bringing in people from off the street as a means to ask the gov- ernment for funding a new school to be conducted in people’s homes. The committee does not expect any adverse effects from the “‘Art is all over” buttons. —Gordon Moore students aS FISH ‘Typesat by MAKARA Publishing & Desion co-op, Printed by Press Gang Printers, Vancouver. Women coat-dearers, Scotland, earty 19th century. Coat was often carried inthis way ‘rom depths exceeding 100 fee. ‘The implications for contemporary artists are as intellectually clear a8 they are difficult to realize con- cretely. It simply is “not good ‘enough” to continue to issue ringing indictments of social forces, political systems, or even of reality itself, unless these are integrated with a practice which seeks to embody and bring into being the fruits of its Preachings. It is no longer good fenough to practice an art whose fundamental characteristics are the glorification of suffering, the striking ‘of a pose of heroic resignation, and the ‘reflection of that epistemo- logical-psychological chaos which comprises the initial stages of sel Understanding in our society. Its easy to say this, but It is not easy to know where to begin to change. As isolated indviduals confronting a monolithically op- pressive reality, we are clearly helpless; thus any significant altera- tion in our personal circumstances ‘must commence with an embracing of the notion of collectivity, with a Telection of historical traditions. of artistic individualism whose con- temporary analogues are tragmenta- tion and ineffectuality. This will stil be inadequate, however, if it results in bullding collective solitudes and calling them “peace; head changes ‘are not real changes, and. the collective privatization of thought is not the collective commitment to action... is only. the. simultaneous change of both external. cir- ‘cumstances and the self which can be conceptualized as a potentially meaningful praxis, which can potentially nurture that totally op- Posed consciousness capable of withstanding our culture's total assault. ee paul stuewe # ut of head they fly Leaving scars. Unwelcome friends these demons ‘Mumbling for attention Believing in their contribution to Art. #2 That largest intelligence Floats heavy To the perceptive lover. Content flies Form plays in its path Lightly. KLYMAN The searing political wit of Bill Featherbed It isnot often thatthe Vancouver Art Gallery is witness to 2 body of work that Isso volatile and personal as the show opening {hie Thuraday,. William Featherbed isan artist who ses the deep Implications ofa capitalist system and a dream gone sour. Featherbed pulls no punches, He ses the schisms and econ- ‘mie diserepancies that rule our society and in his paintings and “rawings brings home the most basic truth of our systems some ‘an iford and some cannot. Those who eannot ean only eam. Featherbed’s metaphor isthe large department stores. His work ses these bulldings 25 the epitome of the capitalist system. He mines the same material as Richard Hamliton, another British painter, who observes and comments with a eaustic wit on the ilies around him. Featherbed’s people are the misfits of soclety. They are the Sort of people who cannot afford the luxuries or even the neces tes, and thus cannot takepart inthe great dream of social equally Featherbed’s people are the salt ofthe earth, the tollers who put in a hard day's work and drink thelr evenings away. Like the ‘ll workers in the film “The Deer Hunter” it becomes 2 tual, an txistence they don't question. Much as baling itself can become ‘Socal ritual of sorts, Just a8 going into department stores and seeing these dreams beyond one's reach, only being able to try on a sult and a coat, and dreaming if but fora second, that its yous, Featherstone in his work counterpoints these people with the middle clas fat eats Of Society. He pits the dreamer, the outcast of society aginst ‘the material decadence that the middleclass represents He sees the mide class 28 being able to buy 2 coat, mittens for a toque and the outeasts not being able to serape up a meal Ietalone these material laxute, therbed ts on the side of the outcast, One gets the feeling that Featherbed secretly hopes these people walk out of the department stores with them stl on their Back {believe Featherbed to be a social commentator much as Charles Dickens, subtly commenting and hoping that these obser. vations will prompt soclety to clean up Its act. The message of {economie discrepancy Is both subtly and hauntingly put forth, You look at his works for'a moment and think perhaps you've seen nothing. But there i something within you that reacts to his work ‘Something tures you back to look again and again. ‘The further ‘you go back, the more the layers and the complex metaphorical Tanguage unfolds. When this perception hits you, you are then able to appreciate the density of his work. They’ are metaphors Within metaphors, symbols within symbols. When one realzes the ambition of the work, one also thinks of Willam Blake, one Whose personal language was so intricate that he was not under- Stood in his day, perhaps not even inthis day. Featherbed seems ‘estined forthe same fate: an artist not appreciated in his own time, and only recognized when time and the final judge of art ‘aesthetics and history fits things within Its proper Mistoriel ‘The Vancouver Art Gallery recently the topic of much dis cussions espectly ln reference to is sacrfical rituals which would hhave pleased the God Dionysus, and other comments on the rela tive sifeness of the hash i chooses to sling, must In tis Instance be congratulate forts perhaps momentary courage in deciding to show the work of an artist who makes devastating Indictments of society. ‘The Bill Featherbed show isa tough act forthe Art Gallery to follow. We don't expect a better show to reach the local scene this year “Seymour Clearly Student Society business ‘The Student Society met again last week on Wednesday at 4:30 pm inthe Helen Pitt Gallery. Essentially there were 3 items brought forth for discussion. First of all, Jarda Clkanek, Society president, tendered his resignation. This was accepted unanimously by Society members. ‘Sean Newion was nominated and selected the acting President. For how long this will continue no one knows for sure. “That was the second item. The third item was a motion hich ead: "By virtue of not accomplishing its objectives (a per the constitution), and by virtue ofits ineffectiveness asa Student Society, it is hereby moved that the ECCA Student Society be dissolved and that winding. up ofall SS business proceed as in Section 5 of the Constitution.” This motion recelved a vigorous ‘debate for approximately an hour and fifteen minutes. thas been tabled until the next Society meeting on the T8th, if you feel at all that this isa motion that concerns you, please attend the next ‘meeting. “eoedltors Five parts wine, twenty-three parts water ‘The Alterative Studies Catalogue Commitee is pleased to report to the department thatthe project is now int final stages and ready to go to the printers. If there are no unforeseen de velopments, the documents should be ready for distribution ound the time of the Gradvate Show, that fs around May T1 27th. We anticipate that the necessary detals wil be taken care of through proper faculty and administrative channels, ‘The purpose of the document isto familiarize the schoo! body, the' public and prospective students of the issues that are