THE INSTITUTE october 1997 / planet of the arts 33 5 The Support Staff Show by Alexander Duff he opening show in the Concourse Gallery for the 97/98 year was an eclectic mix of the beautiful, the personal, and the provocative. Union Made, the first show ever for the staff of Emily Carr Institute, presented the works of current support staff members who are themselves a wide- ranging group of professed and unprofessed artists filling various positions throughout the school. A quick look at the diversity of the work gave us an idea of the diversity of the personalities who make up the staff. Some of these people viewers may already know. We could recognize various names and connect them to a face in an office or an assis- tant in a studio. But have we ever seen them togeth- er like this before? How much do we know about the staff or about their contributions to the Emily Carr community? “Union Made: The Support Staff Show” by CUPE local 15, was not just a collection of works by the staff, it was a show about the staff. According to Gail Carney, one of the organizers, the theme was left open and everyone was encour- aged to contribute anything from fine art to family photos. Many of the pieces conformed to what we would traditionally expect in an art show. There were paintings, photographs and sculptures, and other beautiful creations like Lisa McNiven and _ Anne Olsen’s wonderful carnival game riddle. (Unfortunately this piece was vandalized just after the opening and had to be removed.) Other pieces like Kathleen Johnson’s photographs of her baby’s delivery presented us with a personal expression on par but distinct from more formal works. Overall the work was quite wonderful and eclectic. However at the same time the presentation of the show itself did communicate broader political themes. Shane Neifer’s poster for the event was a subtle introduc- tion to the issues that compelled the organization of the support staff show. “The giant hand literally represents the CUPE members of ECIAD support- ing the Institute,” Neifer explained. “The combina- tion of red, black and white with diagonal type and photogram-like illustration refers to El Lissitzky and to the Bauhaus which, I think, is supposed to be the grandparent school to ECIAD. The ‘revolution- ary’ style of the poster is also a kind of play on the notion of union and social activism in general.” “Union” and “social activism” were two themes reflected in several of the more prominent pieces in the show. One obvious example was Phil Jones’s work “The Hurt and The Healing”. It was impossible to go through the show without noticing the enlarged memo and colour photos tacked against a wall with a paper shredder and sawdust placed beneath them. It was eye-catching from a distance and even more surprising when read up close. The memo was essentially a rejection letter to Phil from ECIAD’s Human Resources Department which itemized in detail the reasons he was not suitable for an avail- able studio assistant’s position. (Phil currently works in the Audio/Visual department.) The memo was quite up front and on the initial read came across as harsh, even mean. This enlarged memo was entitled “The Hurt” while the group of pho- tographs beside it that detailed Phil’s renovation of his kitchen were entitled “The Healing”. Initially the viewer might have thought this whole piece to be simply an angry reaction to an inconsiderate letter. However, according to the artist, that was not his intention. Phil admitted that he experienced anger _ and pain when he received the memo but his piece was not meant to lash out at the author or at the administration. In fact if one gave the colour pho- tographs the same attention as the memo, it would become apparent that Phil’s work was more about dealing with the experience of disappointment and healing than with revenge. At the same time the kitchen photographs were a demonstration to the viewer (and inevitably to the author of the letter) that Phil does have the skills, or at least the ability to learn the skills, that the position required. The installation is part healing and part rebuttal. Phil must have known that the inclusion of the memo in the show would create some surprised reactions. In most cases the cause of surprise prob- ably stemmed from the wording of the memo itself. But Phil acknowledged to me that this kind of detailed itemization of refusal is not personal vin- dictiveness — it is the necessary wording needed to refuse a union position to a union member. It’s not the wording but the refusal that’s the real issue of the piece. ; The support staff occupy various positions throughout the school, mostly secretarial and stu- dio assistant positions. They are represented by CUPE with Eva Bouchard as their shop steward. The staff in all areas are quite knowledgeable not only in their jobs but in the workings of the rest of the ECIAD community. They contribute a lot to the school and their duties are quite important to the rest of us. As students we've all at one time or another relied on and benefited from the experience and instruction of the staff, especially the studio assistants. Their role is primarily to ensure safety when dealing with departmental equipment and to provide technical assistance to faculty and students. They are not teachers and indeed do not get paid nearly as much as faculty members. But what con- stitutes “teaching”? Is a demonstration teaching? What about a workshop? How many things do the Feelings of low morale and frustration were expressed in the show. staff do that are actually faculty or administration responsibilities? How easy is it for anyone to say “no” to their so-called professional superiors? Gail Carney explained to me that the purpose of the show was to raise the morale of the staff. This leads to the question: why does the staff’s morale need to be raised? Apparently they have some griev- ances. According to some staff members there is a general feeling of not being equally noticed and appreciated. Eva Bouchard’s piece “ECIAD I.Q. Test” included an actual test that asked us “What do you really know about [the staff]”? Eva insists that the test was meant to be “fun” and “tongue in cheek”. Indeed the questions and answers were satir- ical and silly but at the same time we were being introduced to people that we should already know. Ron Burnett talks about our school as being a UNION MADE community. The ECIAD population is broken Se down into four parts: the students, the staff, the fac- ulty and the administration. Together we become one harmonious family, or so we like to think. Schools (especially public ones) should be run as communities but often they are run as businesses or beauracracies. Ron expressed to me his enthusiasm for the show and his support for the staff as mem- bers of our community. The staff on the other hand have expressed in this show their feelings of low morale and frustration. Part of being a community is working together towards common goals that have benefits for all. If Phil Jones didn’t have the prerequisites for the posi- tion he applied for why couldn't he have been a trained to acquire those skills? What kind of a career does Phil have at this Institute if he can’t obtain the skills he needs to advance — and what benefit is it to the Institute to have members stuck in positions that have no room for growth? As a community doesn’t it make more sense to hire members from within rather than constantly importing new people into fixed positions? Internal promotions foster a sense of community and give people a reason to stay. Right now what reason does Phil have to stay? This show wasn’t just a presentation of art by staff members. It was a show for the staff and for the rest of us. This show was organized by the staff to reflect their need not only to express their individ- ual selves but also their collective self. It was a reminder that this is a community of four parts that will work best when they work together. ey IN THIS SECTION 34 Letters Correspondence about ancillary fees and the Staff Show. 35 The Global Touch Harald Gravelsins Our esteemed industrial design prof returns from his worldly conquests. 36 Scott Gallery Exhibits Harald Gravelsins Optimizing interior architecture for creative living. 38 Lounge Feature Alexander Duff WHAM! BANG! KABLOOIE! Students rise up to make their art school a happening scene. THE INSTITUTE AL Culture Is Participation Alyssa Hutsul ) Students united will never be defeated... in having fun. 41 Constructivist Aesthetics Harald Gravelsins Building alliances between the art school and the community in support of curriculum diversity. THE INSTITUTE 1997 / plonet of the orts 33 The Support Staff Show UNION MADE by Alexander Ouff ne opening show inthe Concourse Gallery for the 3798 year was an electic mix of the ‘beaut the persona, and the provocative Union Made, the fst show ever for the staff of Emily Cate Insitute, presented the works of current support staff members who are themselves a wide ranging group of professed and unprofesed artists filing various positions throughout the school. A ‘Quick look at the diversity of the work gave us an Idea ofthe diversity ofthe personalities who make up the staff. Some of these people viewers may already know. We could recognize various names apd connect them oa face in an office or an assis: ‘tant ina studio. But have we ever cen them togeth ce like this before How much do we know about the sal or about their contributions tothe Enily ‘Carr community? “Union Made: The Support Staff ‘Show by CUPE local 15, was not jst a cllecton of ‘works bythe staf it was a show about the staf, ‘According to Gail Carney, one ofthe organizer, the theme was left open and everyone was encour aged to contribute anything fom fine at to farly photos. Many ofthe pieces conformed to what we ‘would traditionally expect in an art show. There were paintings, photographs and sculptures, and ‘other besutfl creations like Lisa MeNiven and nv © Olsen's wonderful carnival game riddle (Wnfortunatly this pice was vandalized just after the openin like Kathien Johnson's photographs of her baby’s