ee een - we PeeGce -Fouvrk PL Se I ree Syst "CTO OT ORC ge a Ng? — AS oN B= J. OF PK Ss MARCH '$G pee E> IDI tION space: the final frontier So, you’re tired of being just an “art student” and feel that having a show will put you on jyour way to becoming “An Artiste” (pronounced ar-teest). Naturally, there’s more to being an artist than success and recognition. In fact, good art, whatever that is, and fame,are not necessarily synonymous, but if you think the general public is ready for f your particular brand of angst, the following information should be of service. Galleries . There are a wide range of galleries in Vancouver, from the traditional landscape-and-flower motif to the . . . . inde- scribable. Certain galleries are more concerned with the marketing aspect of art and consider the artist to be a type of investment that will hopefully pay off in the end. Definitely not a get-rich-quick method but it’s nice to think that some- one other than yourself believes in your potential. Doing a bit of research as to the philosophy of the gallery is also rec- ommended. There’s no point in wasting time and money sending submissions to galleries that only deal with estab- lished artists. A few notes on submissions . . . . (See article on documentation). Contact the gallery to see if they are ac- cepting submissions. Most galleries ask for ten to fifteen slides or unframed works. A curriculum vitae is also rec- ommended. Include a self addressed stamped envelope and you might even get the slides returned. Some galleries keep them so don’t send master copies. (See insert for more in- formation on documentation of work.) If your work sells; the gallery will take a standard 40% commission. (This fig- ure may vary). AMS Gallery, UBC Contact person — Abby Lawson Concourse Gallery, E.C.C.A.D. Gallery Committee composed of representatives of students and faculty. Application forms available at the front desk. Elvis Chang Gallery, Student Council subsidises this gallery. Contact people for the gallery are Swee Ling Wong or Kim Wong — Printmaking Department. Grunt Gallery, 209 E. 6th Ave. They are booked until mid-April. Or Gallery, 1729 Franklin St. James Graham, our Student Council President, runs this gallery. The Or is booked till the summer. Pitt International Galleries, 36 Powell St., 681-6740 A curatorial committee meets once a month. They are booked till the summer. Western Front, 303 E. 8th Ave., 867-9343 628 E. Georgia, Gallery run by Chris Coombs. 251-6572 Vancouver Arts Council Gallery, Proposals go before a visual arts committee every month. Vancouver East Cultural Centre, /895 Venables, Booked up through August. Commercial Snaces In addition to traditional gallery spaces there are other venues for exhibiting art. Just remember you’re looking to have your work exhibitied, not exploited. Cafes, etc. Montgomery Cafe, 433 W. Pender _ Cafe Madeleine, 376/.W. 10th, Main Express Cafe, 4273 Main St Camfari Restaurant, 824 Thurlow, Cafe Zen, 820 Howe, Arts Club Lounge, Granville Island and Seymour St. Contact Theresa Gaiters at the Student Council Of- fice for additional information. Warehouses and leased office spaces. It is possible to lease out empty office spaces for exhibits. Park Place has housed a few exhibits. Documenting Your Work by: Virginia Unfortunately, all too often your artwork is judged solely by your slides, so it’s worth the extra effort it takes to pro- duce good quality images. Here are a few points to consider when taking pictures. —Make sure you have film that is properly balanced for your lighting conditions. Most film is adjusted for daylight, so if using tungsten lights, use tungsten film. The easiest solution is to photograph your work outside on a bright, cloudy day. —Use a greycard to take your meter reading from. Make sure your camera is set on the manual exposure setting. If unsure of your exposure, bracket by taking three pictures of your subject, one at the exposure indicated with the grey card and one one-half stop either side of that exposure. —Copies of slides are expensive and of inferior quality so it is worthwhile to take additional exposures. —Lights should be set up on either side of the work, angled at forty-five degrees. The camera should be square to the work. —DMake sure that there is even lighting on your work. —tThe school will develop any “E6” process film for $3.00 for a thirty six exposure roll (Mondays only). Such films are returned to you unmounted. Remember that Kodachrome film is sent East for processing so allow 1 — 2 weeks de- veloping/shipping time. —Mounting for projection has to follow a certain procedure if your slides are to appear the right way up, and reading correctly. Cut the film carefully between the frames. Note the emulsion side of the film, this is the matte (dull) side of the film. View the image normally with the matte side fac- ing away from you. Rotate the image so that it is upside down with the matte side still facing away from you and place the slide in the front half of the slide mount, then cover with the back half to complete the sandwich. Lock the sandwich together. Immediately identify the projection position by placing a spot mark with a waterproof pen, (or ‘small paper adhesive dots) in the right-hand top corner of the slide. Prepare labels with the data concerning the piece of work that is shown on the slide. —wWhen in doubt, get someone to help you. every second in total bliss. There has not been an indulgence we have not enjoyed. Everything she could have wanted, our marriage has given her. We have lived as others only dream of living. Her days were spent riding -- the gardens were her treas- ure --our dinners were such that one ever refused. In short, life was glorious and I could not imagine being happier, or considered for a moment that she was not livin tf And yet, this very morning she said to me, halting, “We must speak tonight after the guests depart.” I could not move, could not reply, my sensibilities in an array of fear and dread. How could I have been so blind, so she so unhappy? sure of myself and her love for me? My world would col- Rae | lapse without her. Why had she sought another? Why was : What could I do to change her mind, to bring her love back to me and our life together? The day was long. Minutes became hours, hours became longer than forever. At last, the guests were gone, the j AY Wit ‘ [7 on rz - champagne sipped, the dancing a memory and laughter an Q echo. law school.” We stood facing each other, my fears at their peak, asshe {/ x said to me, “Darling, my loved one, my life, I want to go to eee eee A exhibition space: the fina So, you're tired of being just an “art student” and feel that hhaving a show will put you on jyour way o becoming “An Artiste” (pronounced ar-teest). Naturally, there's more to being an artist than success and recognition. In fact, good art, whatever that is, and fame,are not necessarily synonymous, but if you think the general public is ready for your particular brand of angst, the following information ‘Should be of service. Galleries ‘There are a wide range of galleries in Vancouver, from the traditional landscape-and-flower motif tothe .... inde scribable. Certain galleries are more concerned with the ‘marketing aspect of art and consider the artist to bea type of investment that will hopefully pay off in the end. Definitely nota get-rich-quick method but i's nice to think that some: ‘one other than yourself believes in your potential. Doing a bit of research as tothe philosophy of the gallery is also rec~ ‘ommended. There's no point in wasting time and money sending submissions to galleries that only deal with estab- lished artists. ‘A few notes on submissions (See article on documentation). Contact the gallery to see if they are ac- cepting submissions. Most galleries ask for ten to fifteen slides or unframed works. A curriculum vitae is also rec- ‘ommended. Include a self addressed stamped envelope and ‘you might even get the slides returned. Some galleries keep them so don’t send master copies. (See insert for more in- formation on documentation of work.) If your work sells, the gallery will ake a standard 40% commission, (This fig- lure may vary). AMS Gallery, UBC Contact person — Abby Lawson Concourse Gallery, £.C.C.A.D. Gallery Committee composed of representatives of students and faculty. Application forms available at the front desk Elvis Chang Gallery, ‘Student Council subsidises this gallery. Contact people for the gallery are Swee Ling Wong or Kim Wong — Printmaking Department. Grunt Gallery, 209 E. 6th Ave. ‘They are booked until mid-April Ese OF HE Or Gallery, 1729 Franklin St James Graham, our Student Council President, runs this gallery. The Or is booked til the summer. Pitt International Galleries, 36 Powell St, 681-6740 ‘A curatorial committee meets once a month. They are booked tll the summer. Western Front, 303 E. 8th Ave., 867-9343 OBE. Seorgia, = Gallery run by Chris Coombs. 251-6572 ‘Vancouver Arts Council Gallery, Proposals go before a visus ‘month, arts committee every ‘Vancouver East Cultural Centre, 1895 Venables, Booked up through August : ; In addition to traditional gallery spaces there are other venues for exhibiting art. Just remember you're looking to have your work exhibitied, not exploited. Cafes, ete Montgomery Cafe, 433 W. Pender Cafe Madeleine, 3761 W. 10th Main Express Cafe, 4273 Main St Camfari Restaurant, 824 Thurlow, Cafe Zen, 820 Howe, Arts Club Lounge, Granville sland and Seymour St. Contact Theresa Gaiters at the Student Council OF- fice for additional information ws and leased office spaces. tis possible to lease out empty office spaces for exhibits. Park Place has housed a few exhibits. Documenting Your Work iy see Ss MARCH ‘86 frontier Unfortunately, all 00 often your artwork is judged solely by your slides, so it's worth the extra effort it takes to pro- duce good quality images. Here are afew points to consider when taking pictures bys Virg Make sure you have film that is properly balanced for ‘your lighting conditions. Most film is adjusted for daylight. ‘so if using tungsten lights, use tungsten film. The easiest solution is to photograph your work outside on a bright, cloudy day. —Use a greyeard to take your meter reading from. Make sure your camera is set on the manual exposure setting. If ‘unsure of yourexposure, bracket by taking thre pictures of your subject, one at the exposure indicated with the. grey ‘card and one one-half stop either side of that exposure. Copies of slides are expensive and of inferior quality is worthwhile to take additional exposures. —Lights should be set up on either side of the work, angled at forty-five degrees. The camera should be square to the work —Make sure that there is even lighting on your work. —The school will develop any "E6” process film for $3.00 fora thirty six exposure rll (Mondays only). Such films are retumed to you unmounted. Remember that Kodachrome film is sent East for processing so allow 1 — 2 weeks de- veloping/shipping time Mounting for projection has to follow a certain procedure if your slides are to appear the right way up, and reading correctly. Cut the film carefully between the frames. Note the emulsion side of the film, tis is the matte (dull) side of the film, View the image normally with the matte side fac- ing away from you. Rotate the image so that it is upside down with the matte side stil facing away from you and place the slide in the front half of the slide mount, then cover with the back half to complete the sandwich. Lock the sandwich together. Immediately identify the projection position by placing a spot mark with a waterproof pen, (or small paper adhesive dots) in the right-hand top comer of the slide. Prepare labels with the data concerning the piece ‘of work that is shown on the slide. —When in doubt, get someone to help you. ae Dice s ture our dinners were such that one ever refused In short, life was glorious and I could not imagine being happier, or considered for a moment that she was not living every second in total bliss. ‘And yet, this very morning she said to me, halting, “We ‘ust speak tonight after the guests depart.” could not move, could not reply, my sensibilities in an array of fear and dread. How could I have been so blind, so. back to me and our life together? ‘The day was long. Minutes became hours, hours became longer than forever. At last, the guests were gone, the champagne sipped, the dancing a memory and laughter an echo, ‘We stood facing each other, my fears at their peak, asshe [/ said to me, “Darling, my loved one, my life, [want to g0t0 law school. ee ie ae? oe Q as EE a eT Sei enti ae ena vs ges el oe Gl es aa Ree Re rad RENE aero Taepainacral sepa Le Miets wid pe eens <