THE SCHOOL OF FINE ARTS
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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