Page 15 - Studio International - December 1971

Correspondence the meeting. This did not take place. Discussion only by 'tangible visual art objects' but by

began immediately about a selection procedure application of the Council's categories 'Painting'
for the Hayward Biennale. When a student and 'Sculpture'.
After Spectrum eventually pointed out the exclusive nature of Mr Pulleé's interpretation 'production of
The meeting held at the ICA on 8 October to this approach he was ignored. Similarly, when tangible visual art objects' might be seen to
discuss Art Spectrum/London and what could Ken Turner from Action Space suggested that widen to some extent the scope of policy but
be learned from it, produced a confused exhibitions were a minor issue compared to the `tangible visual art objects' has been used more
division of opinion as to what was the basis for need to work with the non-art public, as he, alarmingly (though not surprisingly) as a
discussion. On the one hand there was a successful or not, consistently did, he was told sorting-out category of work produced, prior to
predominant assumption that the primary to fuck off and get on with it; thus leaving the the use of categories Tainting-Sculpture'.
consideration was the establishment of a others to carry on yapping. And yap they did, In the 1970 Hull Diploma all students
democratic selection procedure for future mixed ad nauseam. One wet-neck after another droned qualified in Tainting/Sculpture'. That is to say,
exhibitions, specifically the 1972 exhibition at on about selection procedure, mailing lists, the Diploma recorded that students might have
the Hayward Gallery currently being organized, boycotting the Biennale, affiliating to the at least studied painting or sculpture (or both),
to the dissatisfaction of many speakers, by the T.U.C., relating to the 'working-classes', irrespective of what they offered for final
Arts Council. On the other hand there was an protesting to the Arts Council, having a whip assessment (and some certainly offered neither)
almost complete lack of comprehension of the round to buy some postage stamps etc etc, all though most offered 'tangible visual art objects'.
separate opinions stated by two of the panel with about as much enthusiasm as talking about In 1971 some students qualified in 'Painting'
members, Peter Fuller and myself, namely that the weather. When David Thompson offered an some in 'Sculpture' and some in Tainting/
before discussing exhibition selection and exhibition at the I.C.A. for those interested it Sculpture'. That is to say, the Diploma
organization we should discuss the more basic was snatched at desperately as 'something (questionably) distinguished what they produced.
question of whether, in the aftermath of Art concrete to do'; yeah: hobbies for the The distinctions were drawn at the final
Spectrum, such exhibitions were worth housebound. The fact was anything would do, assessors meeting, assuming that students had
organizing at all. so pathetic was the level of involvement, so offered more than 'tangible visual art objects'
In my opinion, Art Spectrum/London was lacking in any purpose except self-exposure. and assuming that the studio assessments were
organized with average thoroughness and A bunch of self-castrated bores. No common not invalidated by the drawing of these
fairness, and the resulting exhibition was a purpose, no anger, no humour, no love, no distinctions at the later stage.
reasonably accurate cross-section of current passion, no vitality, no power of speech, no wit, The external assessor in fact expresses great
art-activity in London. As such it was in content no pride, no social awareness except out of concern both to observe a 'due process' of
about 95 per cent rubbish; evidence of activity books, no nothing except a load of dull yap. assessment (broadly in keeping with Memo 2)
which, possibly valuable on a private therapeutic Strictly the Parish Pump. As someone near me and to remind assessors of their responsibilities
level, was and is virtually worthless in the social said, 'it's just like the Archers', and when after for standards.
situation of a large public exhibition. Given the an hour and a half Stuart Brisley said he thought The anomalies apparent in the situation
fact that most artists are boring creeps, the there was evidently no need for an Artists urge one to inspect not the nature and structure
results are inevitable. It would seem that a Coalition he was right, because it looks like the of Dip AD or the Colleges, but the respective
minority of artists (about 5 per cent) took the only common ground is dull mindlessness. If signatories and their beliefs.
trouble to study the context and organization that was an Artists Coalition in the making then HAROLD HURRELL
of the exhibition, and worked from that starting- frankly I prefer the Arts Council; and the Hull College of Art
point (Marc Chaimowicz, Rose Finn-Kelcey, Archers.
Richard Kriesche, Gustav Metzger and Adrian IAN BREAKWELL [Hull College of Art operates a policy called
Phipps-Hunt come immediately to mind; there London `Integrated Fine Art' and has done so for
were others). But most participants settled for a number of years with the approval of the
the old routine of working away in studios and Trouble at Lanchester Council. Approval has taken the form of
then hauling some of the stuff out to the The events at Lanchester should occasion little approval for Tainting' and 'Sculpture' and the
exhibition space and dumping it on the walls or surprise in anyone accustomed to questioning approval of the appointment of a single external
floors. the heuristic value of certain practices and assessor. There is some hearsay evidence to
Given this situation, is it really worth making slogans commonly employed in the Dip AD area. show that failure to restrict the Diploma
that much fuss about an exhibition ? If artists, Caution is needed in assuming factual status designation to 'Fine Art' only is attributable
as they say, want open exhibitions then I think for the autonomy of (Dip AD) colleges. Factual variously to failure of the College to propose
they should be OPEN, with no selection status for the assumption is a more useful this and failure of the Council to provide a
whatsoever, which means that you don't draw assumption. The 'autonomy' of Dip AD policy for its approval.]
the line at lady flower-painters, nor Christian colleges is a function of the autonomy of the
statue-makers. If that is not what is wanted then Council's Visiting Board and the beliefs ofits Exhibition selection
there is going to be selection of some sort, and members. I was amazed to see that Billy Al Bengston was
until the time of a shared social commitment I The ambiguous nature of the Council's not included in the Los Angeles show at the
don't think it matters too much whether it is First Report is well known. Nevertheless it Hayward. There can be no real and practical
by the Arts Council or an artists' council. appears from paragraph 4 that the Council's reason for his omission. His work is not difficult
The second meeting stemming from Art duty is to test the ability of Colleges to evolve or expensive to ship. The only possible
Spectrum was called, according to the letter their own artistic standards against academic explanation must have to do with personalities.
from I.C.A. Director David Thompson, 'with standards. For instance, perhaps Maurice Tuchman
the specific purpose of (a) getting an ad hoc Clearly, the simple doctrine of necessity in does not like Billy Al Bengston. Perhaps Billy
working method established, (b) deciding on a the production of 'tangible visual art objects' Al trod on Maurice's foot one night in the
formal resolution about the Hayward Biennale, precludes scepticism, limiting generality and Beanery. Of course, this is all conjecture on my
(c) deciding on some first steps towards realizing consequently standard of academic enquiry. part—I do not in fact know anything about their
the Artists Coalition long-term purposes'. My What is disturbing is the readiness of relationship. But, judging by the experience I
statement stemming from the first meeting was subscribers to this doctrine to accept a very low have of the world of Art, this would seem, alas,
suggested by Thompson as a starting-point for degree of adequacy in reference provided not to be an entirely possible and credible reason
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