Emily Carr’s Brenda Crabtree and Lou-Ann Neel Discuss the "NET-ETH: Going out of the Darkness" Show and Other Truth and Reconciliation Events

Education is the most powerful weapon which you can use to change the world.

-Nelson Mandela

 by Chloe Godman

            The tent at the PNE I’m sitting in is so packed that I have to crane my neck to get a proper view of the screen at its far back. Playing is Tim Wolochatiuk’s “We Were Children”, which reenacts the experience of two residential school survivors from their entry up to their release from the schools. On screen there is a young girl being abused by a school priest for the first time. My attention quickly jerks away from the screen as a woman in the crowd begins to scream and wail uncontrollably. Volunteers and people around her all rush to assist in getting her out of the tent without disturbing the others in the room. With some effort they manage to get her outside, so that her screams can now only be heard faintly in the distance. As I, and the rest of the room, redirect attention to the film, a horrible realization dawns on me, not only did the horrific scenes that I’m watching on film happen to the two survivors giving testimony, but also possibly to people right here, sitting around me. I am sitting in a room watching a series of horrific events that perhaps had been experienced first hand by the person sitting in front of me, behind me, two seats over from me or feasibly all of them. Is this the kind of shock value it takes to finally educate people about one of Canada’s darkest periods in history?

            Emily Carr student, Lou-Ann Neel, who has experienced Residential School first hand, has purposely not watched the film. She doesn’t feel ready. Along with starting up a jewelry line as part of her own art practice and being a full time 3rd year visual arts student; Lou-Ann is preparing to follow in the footsteps of her sister and make testimony of her residential school experience to the government. Though the idea of it makes her sick, Lou-Ann knows these testimonials need to be heard for there to be a change. She’s even planning on making a video project with other survivors in order to finally have their stories heard.     

            Working on the pieces that she presented in the “NET-ETH: Going out of the Darkness” show here in Emily Carr’s Concourse Gallery, was one of the ways in which she was able to prepare for her testimony. Working on pieces with such a loaded subject gave her an opportunity to think through exactly what she wants to say when given a moment to do so. Lou-Ann had two pieces in the show, which was part of the many events put on by the Truth and Reconciliation Commission. Her first was a traditional Potlatch banning “button” blanket made using a Hudson’s Bay signature design blanket and buttons containing a portion of the actual text of Section 141 of the Indian Act. Her second work, entitled “Childhood,” spoke directly on the theme of children affected by the residential school system; it is a large scale photomosaic piece. The piece, which is still in progress, is made up of more than 3000 faces to represent the children who died while attending residential school, the whole makes up a photo of Lou-Ann’s young nephew, representing today’s generation of Aboriginal Peoples.  Lou-Ann explained to me that as an artist who already had her own practice in place, she came to Emily Carr to take classes that would allow her to tackle new mediums, though she has also enjoyed taking some of the aboriginal art studio classes the school offers. The school is able to offer these types of classes thanks to its Aboriginal Program Manager Brenda Crabtree, who worked towards putting them in place.

            Brenda Crabtree is the Aboriginal Program Manager at Emily Carr, and has been for the past 15 years. In her words, it is one of the best jobs here at the University. She does everything, from providing academic, cultural, and technical support to the school’s aboriginal students; all the way to resourcing traditional materials such as horse hair and deer hide. Brenda thinks that both this year’s “NET-ETH: Going out of the Darkness” and last year’s “Totally Legit Native art” shows have been relevant on so many levels and an amazing opportunity for aboriginal students to showcase their work. This year’s show was particularly powerful, not only because of the intense subject matter, but because the University made a rare exception to allow the Concourse Gallery to showcase works by artists who were not students of Emily Carr, allowing the exhibit to be a continuation of the shows happening at Malaspina Printmakers society and at the Urban Aboriginal Fair Trade Gallery.

            Both Brenda and Lou-Ann extended their participation in the Truth and Reconciliation activities beyond the Concourse Gallery. In fact, Brenda was one of the main organizers of the events, which ran from September 18th to the 21st. While Lou-Ann participated in the opening ceremonies with a traditional Potlatch dance outfitted in full traditional regalia. She was accompanied by many, including non other than Emily Carr’s President Dr. Ron Burnett. She says it was a real validation to see him and others participate in the dance, showing that we all stand together on this issue and are committed to keep informing and educating ourselves and others around us. When asked what they hope people would take away from the Truth and Reconciliation activities, both women point to education as the most important tool anyone can take away from this experience. They make it clear that the goal is not for participants to feel bad or guilty about the horrific events that took place, but rather about honoring the past and working towards a better future for everyone. 

You can’t fix a problem if you don’t know it exists, but once you’re made aware of it, it becomes part of your responsibility to solve it.

How to Survive an Art Critique

By Jessica Molcan

One of the great aspects of being in an art school is getting feedback on your work. As most instructors stress, the opportunities to get such a vast array of feedback on your art ends quickly after graduation. It’s a lot harder to convince people to look at your work and give insightful, helpful, or critical feedback when there’s not a participation grade attached to it. With the middle of the semester looming, we’re either about to dive in or just made it out of our first critiques of the term. Sometimes, you can make it out relatively unscathed, but other times you’ve been burnt to a crisp—whether your peers throw proverbial wrenches into your artistic vision, or you’re being pulled in so many directions your head is spinning, sometimes it’s hard to know what to take from a critique and what to leave as you exit the classroom.

Separate Constructive Criticism from Cruelty

Positive criticism is great for making us feel warm and fuzzy, but it doesn’t lead us in the direction for growth. This is why constructive criticism is important. It allows us to grow as artists and create stronger creations. However, sometimes the delivery of negative criticism can make it outright nasty. If you’re delivered a particularly awful comment during a critique, try to dissect it. Is there a valid point? Can you use that validity to improve your work? Great! If not, move on. Most technical comments will have validity, and even aesthetic ones—but the key is finding what you can use.

Set Feedback Aside

Whether it’s positive or negative, critiques can rile you up. Although your first reaction may be to passionately defend your work to the death upon receiving negative criticism, sometimes it’s best to set the feedback aside and revisit it later. I try to take a notebook into critiques to write down what people have to say so I can revisit the feedback and my pieces later with a clear head. When you’re clouded by anger or disappointment, you may take it out on your own work unnecessarily. Another good reason to set feedback aside is if you get multiple different opinions or suggestions of where to go next with your work. If you feel you’re being pulled in many directions that intrigue you, having it written down can help you reflect and make a decision.

Accept Criticism Gracefully

If you’re in second year or above, it’s better to hear something during a critique, positive or negative, rather than nothing at all. With negative criticism, remember that you’ve moved someone enough to respond to your work. Be grateful that they’re willing to share their opinion with you, and decide if you can use that information later. Accepting criticism gracefully doesn’t come easy or even naturally. Particularly scathing reviews of your work can have you ready to unleash the fire of a thousand suns—but it’s better to be thankful that you received something that may help you and your work (once you’ve calmed down, of course). Try to calm down before you respond to any negative criticism, responding in anger is never a good idea.

Consider the Source

Generally in an art school critique, the source will be your peers and professor. These people have seen your other work, or are aware of your aesthetic and technical ability. Their opinions may be more thoughtful than that of a complete stranger at a gallery opening or launch party. Keep in mind that even if this is your professor, peers, gallery curator, or a respected artist in your field, it doesn’t mean that their opinion is the definitive voice on the matter. There’s no such thing as right or wrong; you need to weigh the advice and use what you can.

Do Something Amazing

Don’t let criticism stop you from creating. Take what you can from it and grow as an artist. Don’t abandon an artistic vision simply because of one person’s opinion. Keep creating, keep pushing, and keep contributing to the world. What are some of the ways you handle criticism?

Just incase you missed our Spring 2013 Issue, here is a little snap shot of some of it! 

Eighty-Seven Years: A Review of the Emily Carr Student Publication Archives

By Omar Linares

What follows is based on a limited survey of the overall corpus of the student publication archives comprised in the Emily Carr University Library; it is a vast yet incomplete record whose history is being written to this day; it is a history of the university through the perspective of its student community; in its pages emerges a time which allows to glimpse the evolution of the student community of what is now Emily Carr University.

Part I

The early years: Institutional founding and incipient autonomy

In 1926, a year after Charles H. Scott and others founded the Vancouver School of Decorative and Applied Arts, the Art Students Club published the annual The Paintbox (1926-1930). Lasting at least until 1930, this first student publication served as an archetype for many later student papers of the thirties and forties, displaying three features prevalent until the newsletter form of the late 70’s.

First of these features was the proximity with the school’s authorities; many faculty and staff not only contributed to the publication (among them Charles H. Scott), but through the student paper they promoted the school and advocated for funding and facilities (in tandem with other community activities like the annual “Beaux Arts Ball”). Second, likely also ), The Paintbox often displayed the artistic work of students by sections, year, and department; this focus on display of the school’s work would prevail for later publications until the late 70’s and would be re-taken later in the 2000’s.Third, promotional aims were also manifest in the publication’s design and aesthetic trends, markedly in the adaptation and use of many First Nations art and lore, a motif found until the late forties. It should be added that in the case of The Paintbox, the incorporation of indigenous aesthetics was part of proposals for the branding of British Columbia products (vols. 2 and 3); however, despite this ample use of indigenous imagery, First Nations peoples appear marginalized—one editor of volume two (1927) declared that “the younger generation of Indians in B.C. have not the ability or the inclination to carry on the work of their forefathers” (Cianci).

For those that were not excluded, The Paintbox’s promotional efforts seem to have fostered an inclusive community that represented all of the school’s departments; this integration of the community appears feasible when considering the relatively small number of students, the school’s recent foundation, and the presence of its founders. This collaboration between members may be further appreciated in the artisanal craft of many volumes of The Paintbox which, although was sold to the public and included advertisements, featured handmade prints and a stylized finish for its cover and sepia tone pages.

Behind the Palette (1935-1947?), The Paintbox’s successor, followed most of the mentioned features yet its first two volumes (1935-1936) showed increasing student autonomy. Like the fifth volume of The Paintbox (1930), the first volumes of Behind the Palette (1935-1936) appear to have catered to the student community than to promotion of the then Vancouver School of Art. For instance, there are more articles of general interest, less contributions by faculty, no advertisements, less pages, cheaper production format, and a higher frequency of publication (at least four issues for volume two). The format of these early Behind the Palette volumes also changed, corresponding more to a magazine with informative functions than to prior and later annuals of elaborate craft. Nonetheless, this change in  format and aims was short-lived; the next archived volumes of Behind the Palette (1939-1947, of unknown issue number or volume) retook The Paintbox’s original approach. They were published annually, had advertisement sections, were of elaborate manufacture, and contained more staff contributions. These changes, although not necessarily negative, do point to the degree by which the publication ceased to be made by-and-for the students and was rather part of the institution.

Emblematic of this return to institutional sponsorship was the 1946-1947 volume of Behind the Palette. Perhaps the most “historical” of the early student publications, in this volume several faculty and staff wrote on the state of the arts in British Columbia, on incipient theories of art cinema, on painter Emily Carr, and other topics; meanwhile the editorial provided insight on the post-war context and the school’s growth with many veterans enrolling at the school.

Following the trend of institutional proximity was the alumni newsletter The Smockpocket (1935-1938[?]); among its concerns was that of retaining alumni ties to the Vancouver School of Art (for example Charles H. Scott was honorary president of the newsletter). As a newsletter The Smockpocket kept a network of former students, informed on their careers and lives, and on venues for the display of their artwork (like the “BC Annual Painting Exhibition”). It is unknown when was the last newsletter published, yet plans for its enhancement are mentioned in the final archived copy (#4, 1938).

In contrast to what could be termed institutional student publishing, 1957 saw another attempt of student autonomy in the magazine Toucan.

(to be continued…)

IDSwest

By Farrah Nazareth

Yesterday I had the pleasure of attending the opening night at IDSwest and what a night it was! Interior designers, industrial designers, cool products, abundant wine, and the eye candy were all in attendance. 

Walking into the space was like opening up your favourite chocolate bar. It was delightful! With a show this big if you don’t know how to tackle every booth it’s always good to have a plan. That being said, every plan is a good plan. Bejeweled displays to the left, celebrities to the right, and fancy products beyond. 

It is through events like IDSwest that you meet BC designers such as Robert J. Nestman from FREELINE, based in Nelson, BC. After decades of building custom homes, Robert decided to refocus his skills and embarked on a journey towards designing furniture, and so in 2012 FREELINE was born. The beauty of all the studio’s products lies in the details. A particular piece that caught my eye was the serving boards. The excellent craftsmanship is derived from patience and detail, the components are offcuts from larger pieces of studio built custom furniture, the aesthetic follows a contemporary style with modern lines. Sifting through the pieces, I noticed that each piece has its own characteristics and is truly one of a kind. The colourful parquetry detail is stunning. The serving boards are food safe and make great serving plates for sushi, antipasti and finger food to name a few. What more? All the wood sourced for the studio’s furniture is Forest Stewardship Council (FSC) approved.

FSC is an international certification and labeling system dedicated to promoting responsible management of the world’s forests. This means that forest materials are evaluated to meet FSC’s strict environmental and social standards, and tracked all the way to the consumer through the FSC Chain of Custody certification system. FSC-certified wood, paper, and other forest products are then sold with the FSC label by certified companies in the marketplace; thus enabling businesses and consumers to make informed choices about the forest products they buy and create positive change to keep our forests for generations to come.

FREELINE complies with FSC’s guidelines and also uses non-toxic glues; its products are finished with a caring hand touch of natural oil sealers that enhance the colour of the wood. Robert enjoys his work and FREELINE’s products have been showcased at the Art Gallery of Golden, Craft Connection in Nelson, Arts on 3 Gallery in Christina Lake, Coal Harbour Green Design in Vancouver and many more.

If you have the opportunity head down to IDSwest to check out other cool products and innovative designs. The show will be running until this week’s Sunday (September 22) and includes seminars on other sustainable initiatives currently implemented into many of the showcased products. 

Don’t miss out!

Location:

Vancouver Convention Centre West
1055 Canada Place, Vancouver, B.C.
Located at the foot of Burrard Street, North of Cordova

Or visit:

http://idswest.com/

Photos by Geoff Campbell

Highlights: A Celebration of Resilience and “NET-ETH: Going out of the Darkness”

By Omar Linares

Although Emily Carr University is named after a first nation’s artist, it has taken a while before any official celebration of the aboriginal culture has taken place; thus Brenda Crabtree, Aboriginal Program Manager, has reason to highlight the historical importance that the Emily Carr administration suspends classes and hosts A Celebration of Resilience on Friday 20, as part of the national Reconciliation Week (18 to 21 of September). The series of events run along the NET-ETH: Going out of Darkness exhibition at the school’s concourse gallery.

NET-ETH: Going out of the Darkness is presented in tandem with Malaspina Printmakers and has several locations; furthermore, despite that the show was not curated by students, its art work is. It is art that expresses the terror of residential schools and the historical adversity faced by first nations peoples in Canada; indeed, to participate in the exhibition it was necessary to have first nation ancestry. Additionally, as part of the exhibition informative displays in the library and the foundation hall tell of the history and oppression first nations have faced.

This belief in the importance of education is shared by Crabtree as when she describes it as “a path to the economic independence” of first nation peoples. The Aboriginal Office she manages at ECU has this aim in its assistance to the wide diversity of aboriginal students, who have seen an increase in their population and permanence at school, going from around 12 in 1998 to 76 in 2013. This aid is not limited to social concerns, besides providing a place to gather and share a common heritage, the Aboriginal Gathering Place also grants access to traditional first nations media not always available in the school; this permits the students to engage in weaving, drum making, and carving among other traditional art forms, a service that reaches beyond individual artistic development and contributes to the continuity of first nation’s cultural expressions.

It comes as no surprise then that Friday’s speakers count with two renowned first nation artists: Sonny Assu, well known for his blend of mass consumer culture and text with aboriginal themes (for instance his, Coke Salish use of the Coca Cola font); and Dempsey Abbey, a master carver who remains a cultural leader in his home community while he explores non-traditional materials like bronze. Both speakers and other events will be broadcasted live.

Although the Aboriginal Office has no plans for other events after Reconciliation Week, the promotion of contemporary first nation’s artists and the space provided for first nation’s students to gather, practice their expressive heritage, and reach out to the community continue to increase awareness of the first inhabitants of Canada.

The program for this Friday’s events is available at:

http://aboriginal.ecuad.ca/truth-and-reconciliation/

For more events outside of Emily Carr visit Reconciliation Canada’s website at:

http://reconciliationcanada.ca/

Full program available at Truth and Reconciliation Commission’s website:

http://www.trc.ca/websites/trcinstitution/index.php?p=3

Call for spaces Featuring Nolan Drew

By Areum Kim        

 The entrance to Nolan Drew’s studio is guarded by ceramic pots; his passion to create permeates his living quarters, and it has become impossible to separate Nolan from his work. On the kitchen counters, cupboards, floor, and walls are his pots and paintings which, despite the difference in medium, share a visual structure. Rough gestural marks and earthen tones constantly appear throughout his work; in them there is a love of materiality that results in a complex buildup of marks, texture, and gestures.

 Exploring the relationship between ceramics and painting is important to Nolan’s practice. Indeed, his ceramics become a canvas that is literally flattened by the brush; marks are baked in, inseparable; however, his paintings are not centered on the strokes but around a layering of materials and forms. In the end, his works are visually fragile since each part, whether a piece of building material or wood, threatens to detach itself from the rest; and yet, the inherently fragile ceramics are built heavily, giving incredible weight to the objects.

 Nolan’s visual language spills outside his ceramics; the studio walls are covered with expressionist murals: big brushstrokes of every colour are layered consubstantially with the crass forms of his pots and paintings, and, with no more room left, the murals gradually creep onto the ceiling. These gestures hearken to the 1950s expressionists and the idea of artistic beauty, for Nolan’s focus is on his work’s aesthetic autonomy. Such aim for beauty is manifest in his embrace of the raw materiality of clay.

Photos by Geoff Campbell 

Resources for Artists

By Jessica Molcan

I’ve compiled a list of resources for those artists, illustrators, and designers looking to build a professional career as they complete their studies at Emily Carr. While there are a ton of resources available, sometimes it can be hard to know where to begin. Consider this a launching pad.

The Graphic Artist’s Guild

Considered to be the holy grail for communication design and illustration professionals, the Graphic Artist’s Guild is a mecca for those looking to freelance. Chock-full of information about pricing, contracts, and working with clients, it is a great starting point; it is also an excellent resource for visual artists involved in commission work with businesses or individuals. Their website has a section with tools and resources that cover everything, from copyright law to demystifying contracts a client may bring your way. The Graphic Artist’s Guild also offers an in-print book, The Graphic Artists Guild Handbook: Pricing and Ethical Guidelines.  For more on the Graphic Artists Guild visit: https://www.graphicartistsguild.org

Artist Survival Skills: How to Make a Living as a Canadian Visual Artist by Chris Tyrell

You may have walked by this book a few times near the sketchbooks in Opus. A bit pricy but an extremely valuable resource. Tyrell covers creating an inventory, dealing with artwork donations, insuring your work, and an in-depth analysis on pricing your art. Using specific case studies from artists and collectors in the art world, he also offers the basics of becoming a successful visual artist, being represented by a gallery, and having indispensable marketing skills. For more on Tyrell’s book, see the author’s website: http://christyrell.ca/books

Hyperallergic: Sensitive to Art and its Discontents

Hyperallergic is a collective of writers focused on delivering a playful and radical perspective to art and culture. Featured in publications such as The New York Times, The Guardian, and The New Yorker, Hyperallergic’s serious and comical annotations of the art world contribute to its ever-expanding readership of “art enthusiasts, cultural omnivores and everyone in between.” Containing articles, essays, book and gallery reviews, and news pertaining to the art world, Hyperallergic is a must for those looking to educate themselves on the happenings of the art world across the globe. Check them out at: http://hyperallergic.com/

Each of these sites has their own slew of links or resources relevant to becoming a creative professional; these resources should help you along your journey.