40 planet of the arts / spring 1998 THE INSTITUTE RATION BY NICOLA SAI In Defence of the Nude Dear Editor, I might have expected to find an article per- versely identifying natural, non-sexual nudity as “pornography’, such as Jonathan Lander’s The Artist As Pimp (PoA, Dec. 1997) in a fundamentalist reli- gious tract, but hardly in the newspaper of the Student Union of a fine-arts college. Sincerely, Greg Dickey, Vancouver How Do We Write About Art Dear PoA, In the three years that I’ve been at Emily Carr, it’s been quite remarkable to watch the transforma- tion of the PoA from what was (in the fall of ‘94, I thought it was just about the worst student news- paper I'd seen; the University of Winnipeg’s Uniter newspaper at my alma mater being the absolute worst) to a pretty tasty little read. It’s a paper that could only come out of Emily Carr - there’s no mis- taking it for a paper from UBC, SFU, BCIT, or any of the other initials out there. And it’s a genuine pleasure to open the paper now and know that someone in there has written something about visual art. Which is, they say, why we’re all here in the first place. Having said that, wasn’t it Elvis Costello who once said that trying to talk about music made as much sense as dancing about architecture? Nevertheles, whether we study art, design, media, or things in between, how and why we talk (and write) about art is an important question, because we spend so much time doing it. And in a variety of different ways. Curiously, it was only in Charles Dobson’s Design Process class in second year for me that a class actually tried to talk about how to have a critique: What was the purpose, What’s a good model to follow, and What is a useful kind of dis- cussion are all questions that plague us in the midst of the ubiquitous crit. So. How do we talk about art? The last issue of PoA offers a number of approaches, some of which I find more useful than others, and I serve up my own perceptions here in the hope of inspiring a dis- cussion about discussions about art. When all else fails, a wise person once told me, stick a “meta” in front of it, and talk about that. The first piece that leapt out at me from the paper was the write-up of the Union Made show, in particular the mention of Phil Jones’ work in that show. For those who don’t remember the show, Jones’ work “The Hurt and The Healing” consisted of a large memo to Jones from administration and a collection of colour photographs detailing Jones’ considerable carpentry skills. 1 would, actually, like to stay as far away from the art itself and just look at how the work is talked about, and how the work becomes meaningful to the audience/reviewer. For the writer of this article, meaning comes in one part from the artist himself: “Phil acknowledged to me,” thus giving the reviewer a form of privileged access to the work that was not a part of the work itself. Earlier in the article the writer states that “Initially the viewer might have thought this whole piece to be simply an angry reaction to an inconsiderate let- ter. 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 planet of the QS A magazine about visual art, media, design and culture; produced at the Emily Carr Institute of Art and Design Spring 1998 Volume XIII, Number 3 This Issue’s 57 Contributors Aidan Kelly, Alexander Duff, Alyssa Hutsul, Art Perry, Brenndan Laird, Chris Nash, Chris Worts, Christine Carter, Craig Lepan, Crystal Sheehan, David MacWilliam, Denise Cordrey, Derek Brunen, Dorothy Seaton, Duncan Johnstone, Ed Pien, Ehren Seeland, Eugene Keam, Fred Peter, Gaélle Le Brec, Gem Salsberg, Hadley Howes, Hannah Bates, Harald Gravelsins, Irene Kang, Ivana Pauletig, Jeff St. Jean, Jennifer Lau, Jessica Joy Wise, John Young, Jonathan Lander, Julie Arthurs, Karen Myskiw, Ken Hughes, Ling Chiu, Lionel Doe, Lisa Malcic, Lucas Gustafson, Maeve Doyle, Marc Hébert, Meita Winkler, Michelle McGeough, Nicola Sampson, Paul Morstad, Paul Williams, Rand Berthaudin, Ryan Tunnicliffe, Sam Carter, Shirley Bear, Sondra Cross, Steve Maxwell, Suez Holland, Tagny Duff, Tanya Schneider, Tara DeLong, Vivian Hammell, Xero. Editors / Facilitators Alexander Duff Cristina King (in training) Erin Gunther Harald Gravelsins Jonathan Lander Marc Hébert (in training) Tara DeLong (in training) was not meant to lash out at the author or at the administration.” S There are several important implications here: the artist’s intended meaning is more important than the audience’s constructed meaning; the artist has a specific intention which can be verbalized; the intended meaning is the “right” one and others are “wrong”; the intention replaces the actual or sup- plements the work in some important way. The artist not only constructs the physical work, but the meaning as well, and the audience should subsume its own understanding to the artist’s. I think the most difficult problem here is the one of intention: how do we know it, why do we recognize it, and what do we do with it? How many times have we been in crits where either we or someone else says “what I was trying to do is...”, to which the most evident response is to judge the work as either a success or failure - a binary, polem- ical response, yes, one which reduces the complexi- Over $18,000 raised to publish the grad catalogue! Success at the ‘98 Grad Auction By Marc Hébert n the evening of Saturday, March 7th, Emily Carr Institute held its most successful ever grad auction. The auction raised over $18,000, according to Assistant Registrar and head organizer Lawrence Lowe. The 4th annual auction was enthusi- astically received by faculty, students and the public involved, including grads, their friends and families, Vancouver’s gallery crowd, and even some members of the interior design community. This show gives Emily Carr students expo- sure to a lot of people and initiates grads to the dissemination of their artwork. “It’s a great PR event for the whole school,” Lawrence com- jammed with interested buyers and browsers. Lawrence noted that the crowd was not excessive, while it tested the elasticity of the space. The art- With 1000 invites, the Concourse Gallery was jammed with art-hungry wallets! ments. Over one thousand invitations were sent out and the place was work itself was diverse: most of it produced by 4th year students, with a few donations from 3'4 year, faculty, administration and support staff. heartfelt Thank-You to A.P. from L.L.) and Lawrence hopes the earlier start next year will let these people participate in the excitement. The funds raised go mainly toward the publishing of the grad catalogue, the Next year, Lawrence is thinking about adjusting the auction by way of starting the bidding earlier in the hope of raising prices through the excitement of a more intense and prolonged interaction. Some $3,000 was secured in reserve bids b efore the auctioning a la Art Perry (a warm and continued on next page, see “Grad Auction” Cover Images Xero (drawing), Art Perry (photograph) Story List Chief Spring ‘98 Alexander Duff Coordinating Editor Spring ‘98 Harald Gravelsins Production Designer and Manager Jonathan Lander Advertising Manager Jonathan Lander (interim) Acknowledgements Ron Barron and Cliff Veley for computer network and digital scanning assistance and support; William Cupit for photography resources. Letters Policy Letter-writers and contributors please take note: Planet of the Arts reserves the right to amend or refuse material in the interest of a respectful exchange of well-considered thoughts within the justifiable limits of a free and democratic society. Written submissions should be forwarded on computer diskette or via e-mail. ty of the work to either a “yes” or a “no.” Is this use- ful? This problem is especially evident in Design, where the two most common comments in a crit are “it works really well” or “it’s not really working,” both statements assuming that the “working” is intrinsic to the piece and not the audience. Perhaps we need to think about the verb “mean” in a more active sense, and remember that implied within the verb itself is the continuation “...to me.” This would make every statement on “what the work means is...” slightly more complete by adding “what the work means to me is...” In the case of Jones’ particular work, the artist is present at the school, and we could all ask him what he meant by his piece. But what do we do with works where the maker isn’t present, or available, or alive? Reconstruct him or her as much as possible, through biography, writings, and other works to arrive at an authoritative intent? And then what do we do with that intent? Suppose I hadn’t read the PoA, and didn’t have access to the artist’s intent: does that mean that the constructed meaning I have rolling around in my head is “less” than that of the PoA readers? In Design we don’t talk about meaning quite so much as we do about communication, but the process is the same: we communicate to someone, and that someone is largely responsible for inter- preting and constructing whatever meaning they can/want/need to. Of course, we don’t often like to talk about this, because as hope-to-be-professional communicators one day, we like to think that we are in control of meaning, of messages. But Design, like Art, is a gift to a multitude of audiences, and having given it over, we give responsibility for meaning with it. What I meant'when I made it is largely irrel- evant; what you mean when you look at it is of great interest to me. I won't always be there to tap you on the shoulder and tell you what I meant. And if I was there, I wouldn't do it anyway. —James Baker, Design IV 40 plonet of the orts / spring 1998 THE INSTITUTE Defence of the Nude Dear Editor, T might have expected to find an article pe versely id fying natural, non-sexual nudity as “pornography” such as Jonathan Land's The Arist. As Pimp (PoA, Dec 1997) i a fundamentalist eli ious tact, but hardly in the newspaper of the Student Union of fine-art cole Sincerely Greg Dickey How Do We Write About Art Dear Poa, Inthe thre years that ve been at Emily Car, its been quite remarkable to watch the transforma tion ofthe PoA from what was (in the fl f 94, thought it was just about the worst student news paper sen; the University of Winnipeg’s Uniter newspaper at my alma mater being the absolute worst) ta prety tasty lite rea. Its a paper «ould only come out of Emily Car - there's n0 mi taking it for a paper from UBC, SFU, BCT, or any ofthe other initials out there. And its a genuine Pleasure to open the paper now and know that Someone in there has writen something about visual at Which is they sy, why we're all here in the ist pace Having said that, was’ it Elvis Costello who, ‘once sid that trying to talk about music made as ‘much sense_as dancing. about architecture? [everthees, whether we study at design, media, ‘or things in between, how and why we talk (and \wite) about artisan important question, because we spend so much time doing it And in variety of different ways. Curiously, it was only in Charles Dobson's Design Proces clas in second year forme that a cas actualy tried to talk about how to have a eitique: What was the purpose, Whats a good ‘model to follow, and What isa useful kind of di ‘cussion areall questions that plague usin the midst ‘ofthe ubiquitous eit. So, How do we talk about art? The lst sue of Pod offers a number of approaches, some of which find more useful than others, and I serve up my ‘own pereptions herein the hope of inspiring dis- cussion about discussions about art, When all else fala wise person once told me, stick a “meta in front of it, and talk about that. The first piece that leapt out at me from the paper was the write-up of the Union Made show in Particular the mention of Phil Jones’ work in that show. For those who dost remember the show, Jones work “The Huet and The Healing” consisted ‘ofalarge memo o Jones from administration and a callection of colour photographs detaling Jones! ‘considerable carpentry sil would, actualy ke to tay as faraway fom th at itself and jst ook at hhow the work i aed about, and how the work becomes meaningfl to the audiencelreviewer For the writer of tis article, meaning comes in one part from the artist himselE “Phil acknowledged to me thus giving the reviewer a form of privileged access to the work that was not a part ofthe work itl Elie in the article the writer states tat “Iiilly| the viewer might have thought this whole pee to bbe simply an angry reaction to an inconsiderate let- ter, However, according tothe att, that was not his mention. Phil admitted that he experienced anger and pain when he received the memo but his pice planet This Issue’s 57 Contributors Aidan Kely, Alexander Out, Aya Huts ey reondan Laid, Chis Nash Derek dren, Do Jotnstone, Ed en, Een Seland Eugene eam, Fed Peter, Gale Le Bec, Gem Salber, Hadley Howes, Hannah Bates, Horald Gravis, Wene Kang, Nana Pauli, Jel St. Jean, dents Lav, Jessica Joy Wee, Job Young, Jonathan Lander, Joe Ath, Karen skin, Ken Hughes, Ling Chi, Lionel Doe, tsa Maki, Lucas Gstation, Maeve Doyle, Mare Hébert, Maia Winkler, Michale MeGeough, Nola Samson, Paul Mota, aul Willams, Rand Bertha, yen Tuite, Sam Care, Shiey Bea, Sondra ios, Steve Marvel, Suez Holand, agny Dut, Tanya Senet, Tra DeLong, Vian Hammel, Xero. Editors / Facilitators Alexander Dutt Crating King (in tang) in Gunther Harald Gravetins Jonathan Lander Mare Hebert in ting) Tara Detong (hn taning) ‘was not meant to lash out atthe author oF atthe administration” “Thete are several important implications here the artist's intended meaning is more important than the audience's constructed meaning: the artist, hasa specific intention which ean be verbaized the mended meaning i the"right” one and others are “rong the intention replaces the actual oF sup- plements the work in some important way. The artist nt only constructs the physical work, but the meaning a well and the audience shoud subsume fits own understanding to the artis’. [think the most difficult problem here isthe ‘one of intention: how do we know it, why do we recognize it, and what do we do with i? How many times have we been in crits where either we oF someone ele says “what Iwas trying todo is. which the most evident response is to judge the works either asuces or ule - inary, polem ical response, yes one which reduces the comple Over $18,000 raised to publish the grad catalogue! Success at the ‘98 Grad Auction By Marc Hébert its most successful ever grad auction. O= evening of Saturday, March 7¢h, Emily Car Institute eld 138.000, according to Assistant Registrar and head organizer Lawrence Lowe. The 4 annual action was thus astiallyresved by faculty, students and the public involved, including grads, their friends and families, Vancouver’ gallery crowd, and even some members of the Interior design community. This show gives Emily Car students expo: sure to alot of people and initiates grads to the disemination oftheir. artwork. “Its a great PR event for the whole schoo! jammed wit “The auction raised over few donations from 3 yea With 1000 invites, the Concourse Gallery was jammed with art-hungry wallets! ‘ments, Over one thousand invitations were sent out andthe place was rested buyers and browsers. Lawrence noted thatthe ‘roma wasnt excessive, while it tested the elasticity ofthe space. The at ‘work itself was diverse: most of t produced by 4 yea student, with a heartfelt Thank-You to AP. from start next year wil let these people participate in the excitement. The funds raised go mainly toward the publishing ofthe grad catalogue, the faculty administration and support taf. Next year Lawrence is thinking about adjusting the auction by way of starting the bidding earlier in the hope of rising prices through the excitement of a more itense and prolonged interaction, Some $3,000 was secured in reserve bids before the auctioning 3a Art Pery (a warm and ) and Lawrence hopes the ealice of the GY tS Amiga ht al at tin ne: oct ath ny oe st tan ge Cover Images er (orang), Art Petry Story List Chief Spring ‘98 Coordinating Editor Spring ‘98 Harald Gaels Production Designer and Manager Jonathan Lander Advertising Manager Jonathan Lander (erm) ‘Acknowledgements Ron Barron an Cl Vee for computer network and ital sanning assistance and support Willam Cupit for photography Letters Policy Leterrier nd contro pease ake ote: net ofthe At sees the hf amend or reise matin the ere of» pet ‘change of weaned thought win the ite ibis sou be forwarded on compute dete oF va em ty ofthe workto ether a"yes" or “nals this use fal? This problem is especially evident in Design, where the two most common comments in a rit are“it works really well” or “it’s not relly working.” both statements assuming that the “working” i sic tothe piece and not the audience Perhaps we need to think about the verb “mnean” ina more active sense, and remember that implied ‘within the verb itself is the continuation to me.” “This would make every statement on “what the tly more complete by adding "what the work means 1 me.” In the case of Jones particular work the artis is resent atthe school, and we coulda ak him what the meant by his piee. But what do we do with works where the make ist present, or avaiable, oF alive? Reconstruct him or her as much as posible, ‘through biography, veritings, and other works to arrive at an authoritative intent? And then what do ‘we do with that intent? Suppose I hada read the oA, and didn't have access to the at's intent oes that mean that the constructed meaning Ihave rolling around in my head is “ls” than tha ofthe Pod reader? InDesign we do talk about meaning quite so much as we do about communication, but the process the same: we communicate to someone, and that someone i largely responsible for inte. reting and constructing whatever meaning they ‘an/wantneed to, Of ours, we dont often like to talk about this, because as hope-to-be-profesional ‘communicators one dy, we ike to think that we are in contro of meaning, of messages. But Desig, ike ‘Arisa gift toa multitude of audiences, and having sven it oves, we give responsibilty for meaning ‘witht What meant when I made tis largel rel ‘vant; what you mean when you look tit is of great work means is.” interest to me won't always be there o tap you on the shoulder and tl you what I meant. And if was there, would doit anyway. James Baker, Design 1V