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Documents Phase 1

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A tutorial with Gary

Mark Babb stands to the left of shot holding the script. Kimberley sits, arms crossed in her allocated studio space.

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Assessments in the Staff Room

LESLIE HEMINGFORD:

Where's the end product though? Her films just meander towards a lack of resolution. There is no consideration of a prospective audience.

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Tara's Tutorial with Dudley

DUDLEY: I don’t know really. [looks at his painting confused and sad - but eventually rallies] I guess there’s something in the rhythm, the repetition.

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Group Crit

A crit has been convened by the tutor Mark Babb.

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Tara's Tutorial with Dudley

DUDLEY:

I’m not sure. I need the toilet actually, do you mind if we stop?

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TARA:

Yes of course. Shall we catch up next week?

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Waiting to Crit

Blue, Dudley and  Dave wait for the group crit in the newly furnished break-out space. They discuss their tutor.

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Waiting for Crit

Blue looks through her notes whilst Dudley sketches before the group crit.

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Assessments in the Staff Room

TARA:  (peering over Babb’s shoulder at the grades)

Do they all get 2.1s?

 

MARK BABB:

Not until the second year - they need to find their feet

 

TARA:

Ah look, poor Dave. He seems to do more work than most of them!

 

MARK BABB:

Just doesn't get it though 

 

TARA:

Would his exhibitions count for anything?

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Set for the Assessment Scene

The staff room of the School of Fine Arts.

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Assessments in the Staff Room

Boom and beard from the office scene.

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Dudley's Tutorial / Kimberly in Next Space

TARA: [ thinking and being careful not to offend ] Have you ever seen those black and white photos of Jackson Pollock in his studio?

 

DUDLEY: I don’t think so.

 

TARA: Do you like Pollock’s work?

 

DUDLEY: I like the large paintings.

 

TARA: In the photos there’s  one of those large paintings laid out on the floor. It’s probably three or four times bigger than this one. [indicating Adrian’s current work]

 

DUDLEY: [ a little disappointed ] Oh.

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Dudley's Tutorial with Tara

TARA: The stripes Dudley, the stripes.

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Kimberly & Babb Discuss the Tutorial's Content / Babb Reflects

KIMBERLEY: 

I guess some kind of response to the situation I’m in.

 

MARK BABB:

A tutorial about the dying embers of a neoliberal society on the brink of environmental catastrophe?

 

KIMBERLEY: 

I mean the context of the college. Or, I suppose, of the institution generally.

 

MARK BABB: 

OK, niiiice… some kind of Institutional Critique. That could be interesting. How would you critique this institution? The oppressive top-down management and bureaucracy?

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Babb Appears / Monday Morning Coming Down

[MARK BABB is in KIMBERLEY’s studio space]

 

MARK BABB: 

Hi Kimberly.

 

KIMBERLEY: 

Hi Mark.

 

MARK BABB: 

You’re in your space, it's been a while.

 

KIMBERLEY: 

Has it?

 

MARK BABB: 

What have you been working on? What shall we discuss? Anything? Nothing?

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Hornsey School of Art [circa. 1968]

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Dungarees & Cameras, the `Boom' in shot, Tara and Dudley

TARA: Oh yes, I’m from Manchester originally. We used to go to Blackpool on day trips when I was a child. What do your friends and family back home think of you studying art? Call me Tara by the way.

 

DUDLEY: Well, they don’t really get it.

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Rehearsal

 

The students sit around an easel whilst three people look on, one with a camera.

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Coventry Rehearsal

 

A photograph of a studio theatre in Coventry in between rehearsals.  People are sat both in the audience and on the stage.  A red scissor lift can be seen in the right corner.

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The Group Crit

 

Students sit in a circle around an artwork to be criticised. The tutor Mark Babb stands at a certain distance , his empty chair leaving a certain presence.

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DAVE:

Well it looks a bit like my nan’s rug, but that’s only one part of it

 

MARK:

Okay… but what does that do?

 

DAVE:

It’s a bit weird seeing it here. But she wouldn’t have a light on it like that, it would be a trip hazard. She struggles to lift her feet.


(silence)

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In the midst of the Crit

 

TARA:

There’s a relation to class that’s a bit hidden perhaps. Not everything a person chooses to do necessarily represents their own social situation. Like, whatever’s underneath that mound… a sort of deliberate concealment? I suppose the question is do we think it’s okay to just use materials that come from elsewhere?

 

LESLIE: (rolls eyes)

…like the 80s never happened?

 

BLUE:

I think it’s actually 90s 

 

TARA:

Sorry? (directed at Leslie)

 

LESLIE: (patronising)

Appropriation, my friends! Though you might be a bit young to remember, Tara. We overcame originality in the 80s and I think this work knows it.

 

CHE: Non-anthropocentric material agency!

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More Crit

 

LESLIE: 

We need to honor Blue’s wish to remain silent. There’s nothing more boring than artists droning on about their intentions. Whether you (glancing at Kimberley) believe it or not, this is a part of a wider contextual language. Yes the grammar and syntax may be inchoate at the moment. This is year one!


 

DAVE:

I was thinking…

 

LESLIE: (butts in)

The work has a very conscious thrown together attitude … a nice quality of unfinishedness. There is a rich history of this aesthetic move.  I’d be interested to see you take it up in scale. You know, get kind of monstrous with it.

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Dudley's Tutorial / Kimberly in Next Space

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Babb Appears / Monday Morning Coming Down

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Dudley's Tutorial / Kimberly in Next Space

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Babb Appears / Monday Morning Coming Down

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