Gallery Visits

gallery visits, art work

/ lexiearl / Leave a comment

The opportunities teachers have to take their students out of school to visit art galleries, museums, and theatres are growing smaller. There are many reasons for this, and in Year 11 (when students write GCSEs) and in Year 13 (when they are finishing their A-levels) such opportunities are even more limited. It is not that schools aren’t going out, it is just they are going out less, or only at certain times in the year.

At Upton Hall School near Liverpool, the art teachers have designed summer projects which require the girls to visit a gallery over the school holidays, take photographs, and begin making art pages to then connect with in the new term.

Mrs Pell, one of the art teachers explained the purpose of these projects:

It’s to start them off basically with their coursework and it is to make them take their own photographs to start working from. If we set that in September, we just wouldn’t have the time to do it so giving it to them over the summer, they always enjoy it because they have the time to make the pages and to think about their photographs and to go and visit the exhibition as well.

The students explained how this type of project made them go and see the artwork.

Like for example the one between Year 11 and 12, was we had to research Ella Kruglyanskaya. We had to go and look at all her work, take pictures, take notes. Then come back and do a page on her and a painting. It is useful to go and actually see the work. 

It was part of our summer project to go to some of the exhibitions, we looked around. So it was interesting to get a perspective.  

But the influence of exhibitions went further than simply a summer project. Mrs Pell explained:

The work that we start off with in September is always kind of influenced by a gallery visit. So Years 10, 11, 12 and 13 have all been to Tate Liverpool to see the Tracey Emin exhibition and they all had a theme of domestic environment. If there is anything really good going on we always encourage the girls to go to it and that might even change our schemes of work. Grayson Perry came to The Walker and we made Year 10 and 12 go and see that exhibition and from that we’ve come up with some really good pieces of work that we want them to do. Obviously we hadn’t planned that in September but once we saw that exhibition we kind of reacted to it and changed what we were doing.

The Grayson Perry exhibition had led to different projects completed by the Year 12s, including some beautiful pots that they were busy finishing when I visited.

Tell me about the pots? How did they come about? Where did the inspiration come from?

Grayson Perry. We got a homework to do Grayson Perry and then we suddenly got an idea, he does pots, why don’t we do pots and that is where it came from.

It just happens. Mrs Pell is very ‘oh I like that idea, let’s go with it’. She will research it and decide.

So we used inspiration from that and artist research. We did a dress project so we had to design a few dresses for him and then we’ve been doing pots alongside that as well.

We went on our own. They set us a project in school so we didn’t know about it and the school said that it was on.

Some students explained how the process of going to an exhibition and then creating art work developed:

Normally is what we do is we go to the exhibition, take photos. Do power drawings. Make a page and put our ideas down. Then we will go from there, construct things from what we’ve seen.

 And link it up to sketchbook work you’ve done before. Link it to colographic plates and the printing so it’s got a flow to it.

We started with a project, which was domestic environment. So everything linked back to that. All the Grayson Perry stuff we tried to link back to the domestic environment as well which was the first project we did.

Everything we do has a link to it.

And the teachers will go and make their own ones and then come back and say this has worked, this hasn’t worked, this is what we’re going to do.

It is trial and error.

By encouraging students to visit galleries, and basing their coursework on such gallery trips, the teachers were able to ensure students went out and saw artwork in real life, even if they did not have time, opportunity or resources to escort them there in person. It was an interesting example of how teachers are able to adapt their work in changing times.

using artworks in drama

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This post is written by Lexi Earl, on her visit to West Derby School in Liverpool.

As most readers of this blog will have gathered by now, I spend most of my time visiting the different schools that are involved in this project. Generally, I know what to expect from my visit. If the school has a partnership with the RSC, I spend my time with either Drama or English departments (and sometimes both). If the school has a partnership with the Tate, I am in an Art department, talking to students doing Fine Art, Photography, Textiles and the like. But one school in this project has broken this mould. At West Derby School in Liverpool, the partnership is with the Tate but the partnership is held by the Drama teacher, Kate Forrest. As I discovered when I visited, this means that Kate uses exhibitions at the Tate as stimuli for Drama projects and performances.

During my visit I had the opportunity to talk to two Year 13 Drama students who had visited the Tate Liverpool to see Tracey Emin’s My Bed (1998) when it was on display. The students then used this artwork as a stimulus for a play that they wrote and then performed. Their play dealt with sexual abuse.

They explained how the artwork was about more than just a messy bed, and how this had helped them develop their play.

See, Tracey Emin’s bed in the Tate, when you come in and look at the bed, people go ‘oh that’s just a messed up bed. I could do that on a Monday morning’. But when you look at it and what is around the bed, and what it symbolises, knowing her backstory, you realise that all of her life has unfolded in that art piece. She had a picture of her ex who she was completely in love with who left her, cigarettes, alcohol bottles and a bed just torn to pieces. That, in a way, shows her mental state, and we wanted to adhere to that and show the mental state of our characters. Hopefully that will connect to whomever we perform to.

Most people look at the art in a literal sense and say this art is just a bed. It is less about the bed itself and more about the person behind.

The students then explained how this artwork created a stimulus for them to leap from, to engage in difficult and complex ideas, and how it inspired their work on mental health and the links to sexual abuse.

I think the bed as an actual stimulus was what really pushed it for me because recognising that the bed wasn’t just a bed, it was the actual mental state so connecting that up to making a play about your mental state was really interesting for me. I could create bonds between our own production and the bed. When we first wanted to do it, we thought it would be more interesting if we included the bed – at least in the background. We had a bed onstage, messed up maybe so giving that sense of bad mental state. I’m not sure if you’ve read this but they say your mental state can be represented by your bedroom and the state it is in. It reflects what you feel inside which is really interesting. So we wanted to get that across but at the same time we didn’t want to confuse the audience so by the end of it we decided not to [include the bed]. We worried they’d be focused too much on the bed rather than the actual acting that was happening on stage. So we went for a minimalistic vibe rather than focusing on props, lighting, shadow, we wanted to focus on the actors. The only prop we used was a block to emphasise character stance.

I asked the students what the value to them was of being able to visit the Tate and use an artwork as a stimulus for a piece.

It helps build on your own ideas. We’re told in the media about these kinds of people, about mental health, and to just get down on the ground and see someone’s own mental health displayed really helps build upon what you want to do, how you want to present it.

WDtheatre

One of the students highlighted how Drama, through working with complex issues that form part of our world, can change your world view.

Most things when you come to Drama are confidence, you boost your confidence. But in fact, when doing this, it not only boosts your confidence on stage but going into the big world, meeting other people, you have got that confidence for it. When we were performing and exploring into it [the play], you realise the society that we live in and the society that the news feeds, that the government says it is, it is not. It is completely different to how it is. It changes your views on the world. You realise eventually who to go with, stay away from, what type of person they’ve built you into society and that is what Drama is pretty good for. 

The opportunity for these Drama students to visit Tate Liverpool, and use one of the artworks for an in-depth exploration of complicated mental states influenced their work. It was an interesting reminder that art can be used in different ways, with many subjects.

 

 

school and community

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This post is written by Lexi Earl, on her visit to St. Ives School in Cornwall.

When I arrived in St Ives, early on a Monday evening in March, I was entranced. Like thousands before me, I found the town captivating. Everywhere there was sea – sometimes silvery grey, sometimes aquamarine, sometimes golden in the sunlight. I walked the tiny cobbled streets. I watched people with their dogs, happy as can be on the creamy sandy beaches. On my walks up to St Ives School in the early mornings, I found myself listening to the squawk of seagulls or the twitter of sparrows, instead of my usual podcasts.

Island view of St Ives

I am of course, not alone in feeling this way about this particular part of the world. In the Barbara Hepworth Museum, which I had opportunity to visit during my stay, there was a quote on wall that resonated with me.

“St Ives has absolutely enraptured me, not merely for its beauty, but the naturalness of life… The sense of community is, I think, a very important factor in an artist’s life”.

I have been thinking a lot about community since starting to work on this project, and at St Ives School some of the students talked about the sense of St Ives as an art community.

I think Cornwall, especially St Ives, does attract, it’s like an artist magnet. It attracts people from all over the world.

St Ives is such an art-based capital. Obviously we’ve got the Tate here, so that’s cool. There are life-drawing classes; there is pottery. There are self-portrait artists.

Like the island, you could just sit there and paint.

The art and graphics teachers I spoke with at St Ives School clearly thought that partaking in the arts community was important, and sought to provide opportunities for their students to experience this kind of arts-focused community.

Hepworth in St Ives

Gizela Daemi-Rashidi, who is Head of Creative Design, is involved with the St Ives School of Painting and has helped set up an opportunity for students to learn there.

The St Ives School of Painting asked me to be one of its trustees. So I go to meetings and we really try and expand the arts for the students. And the students are now doing an Arts Award through St Ives School of Painting, after school every Thursday for two hours. It’s [for] students who lack in confidence, who want to do more art. The opportunity is there if the students are willing to put the time and effort in.

Some of the students I spoke with were taking advantage of this opportunity.

It’s a bit more strict. It’s kind of just expanding your art skills than when you’re in school. 

We’ve done life drawings at the moment. We did marbling, colour mixing, using our pencils with measurements to get everything into proportion.

It’s a different kind of atmosphere cause you’ve got different people, and teachers who are specific to what you’re doing at that time.

Every summer, Paul Fox-Williams, Head of Art at St Ives School, organizes for the GCSE artwork to go on display at the Penwith Gallery in town. This provides an opportunity for the students work to be displayed in a gallery exhibition, and for the local community to see the kind of work the students are producing. The students gain valuable feedback from local artists. Paul explained:

What the Penwith Gallery did was go actually the bit that is brilliant about this is the kids work so let’s work something out that means that the rest of the world can see that work of those kids.

The school also takes students to the Tate Gallery, the Barbara Hepworth Museum, and the Leach Pottery studios. The students expressed what this kind of experience meant to them:

It’s just inspiration for us, to put in our work. Just to see what can happen, if you put your mind to something.

It does teach you a lot. Like your work can be produced and people can see it. People can go there and look at your work. I think it’s very good for us.

The art block is just like paintings and drawings and that on the walls, but it’s different in the Tate. They have pictures and sculptures. It’s a different aspect of it.

St Ives is an inspiring and beautiful place. It is also a community of artists and makers. St Ives School’s art department is making sure students experience both the opportunities for looking at art and also the opportunity to participate in this arts community.

 

mistakes are often the basis of creativity

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Esther Tyler-Ward, from Digitech school in Bristol, is a teacher of art and photography who is participating in the Tale research project. Here she shares her reflections about her engagement with the Tate’s Common Projects project:

community-session

Tate’s Common Projects 2015/16 was a year long project that brought together artists, educators and curators to explore art education. At our initial meeting a group of teachers, including myself, shared how we saw ourselves as artists as well as educators, through visual snapshots of our practise as artist-teachers. This immediately set the tone for the professional development I was hoping to achieve through participation.

This wasn’t a course to help get the grades now that photography grade boundaries are extraordinarily high, or how to support low ability boys with poor behaviour in the classroom; this was bigger, (and dare I say, more exciting) than that: an open-ended conversation about how and why art education is important and how and why we teach and engage with it.  

The sessions were organised by Sarah Jarvis and Anna-Marie Gray from the Tate. I met up with other art teachers at Tate Modern or Tate Britain alternately, where Sarah and Anna-Marie facilitated workshops in response to the key question, ‘What could happen if for one year the classroom, gallery and studio talked to each other?’

The focus soon became how we see art as empowering and also the importance of play to help develop confidence and creativity. However, seeing art in this way and teaching in this way can often be two separate entities!

We responded to our initial thoughts and discussions by creating a mess, I mean playing!  Scissors, glue, paper, string and a pair of nude coloured tights worked to create a long line of playful experimentation growing out from our key words. Straight away the theme of ‘play’ struck a guilty chord. I worked my last GCSE group so hard last year in order to hit exceedingly high target grades, that I felt the fun, (the play) had been wrung out.  Also, the  ‘expert teaching matrix’ delivered at my last school inset had no area for ‘play’. And this is why the course was liberating – discussing art education outside of the boundaries of UK art curriculum and assessment criteria meant I was able to approach teaching art from a new set of creative parameters, (or possibly no parameters!)

Other inspiring sessions included:

One of the most memorable sessions I attended on the course involved working with the artist Judith Brocklehurst, who facilitated the creation of our own after-hours mini cinema in the Tate Modern. Working in teams with basic materials, we designed a structure in response to the artworks in our room. The whole process was recorded and then projected onto our cinema structure at the end of the session. Team-work, recording, experimenting, responding to other contexts – this hit so many of the assessment criteria required for GCSE or A-level. But would I dare attempt this at school for fear of the whole thing falling into chaos? In our short-for-time curriculum there is no room for error…and yet mistakes are often the basis of creativity.

On reflection, one specific idea that I have subsequently introduced to my students is ‘failure sketchbooks’. These are little folded mini accordion sketchbooks of one length of paper. Students work in these alongside their main coursework in order to try out ideas, complete experimental homework, or just doodle without the pressure of constantly creating successful, beautiful coursework, where all work clearly links together and is in context, ready for assessment. This encourages students to play, create, keep and collate their experiments, and is a physical reminder that failure is just one step towards success.

The Tate Common Projects course has reminded me of my younger, enthusiastic NQT aspirations of creating an art studio, (rather than classroom) where all students can access opportunities to create their own ideas at their own pace. Such ambitions have been gradually eroded during my decade working in schools due to the increasingly hard system-flogging towards target grades. However, I am now inspired to reconsider the bigger picture of art education and literally play around with my schemes of work for next year at Digitech school!

Tate’s Common Projects’ thoughts and experiences are loosely collated at https://tatecommonprojects.wordpress.com.

close encounters

/ beckyparry / Leave a comment

Earlier in the year I was in Halewood School, visiting Art, Photography and Graphics staff and students. I was lucky enough to visit on a day when some of the students had returned from a trip to Barcelona. It was clear that the art, the galleries, the architecture and the food had all made an impact on the students:

I just liked walking around and seeing how other people interact.

It was a completely different culture.

I tried to look under the surface of their enthusiastic responses to understand the way that these young people engaged with challenging contemporary work for the first time.

The students reflected on the way they had been prepared for the visit by staff from school and in the galleries:

There were paintings I didn’t understand. But there were art students who explained, so it broadened my thoughts

The preparation was clearly key to the visit and it was refreshing to see the students being given space to honestly discuss their responses. They were encouraged to say what they thought.  Some of the year ten students expressed some uncertainty about some the work they’d encountered:

It [the art] didn’t really have any relevance.

We all had our preferences – some we found a bit strange.

But 6th form students articulated their responses in more depth and made strong arguments for the need to engage with art face to face.

It’s one thing seeing a piece on a computer screen but seeing it in person you see more.

Seeing it online the pieces can be diminished. You don’t appreciate the size.

 The students also made it very clear that, for them, seeing art isn’t all about admiration and appreciation:

 We went to see Banksy’s work and I’d seen all the pictures but when I saw the actual work it was different. It shocks you.

Having many and varied opportunities to access art through school and in their own city clearly has value, enabling students to explore their own responses and draw inspiration for their own self-expression. I’m not sure they would be able to do this in the same way if the premise for every visit was to invite them to simply admire and appreciate the exhibitions. Indeed as Head of Art Liz Shelbourne describes, the school invites the students to question and challenge what art is, making links to the Turner Prize in doing so.

At the schools’ preview of the Tate Modern’s new building and collections I caught up with the Halewood students again, as they encountered the new spaces. In observing their responses I saw everything from curiosity, surprise, boredom and enjoyment expressed as they encountered new work and new ideas. Trying to get a sense of the whole experience from the point of view of the students reminded me of their descriptions of the reasons they loved their visual arts lessons – it was the freedom of expression of ideas and the independent thinking that was expected of them.

Both at school and in gallery spaces the students’ own ideas about what they were experiencing were respected and listened to, and as a result they expressed genuinely diverse opinions,. They also demonstrated their understanding of subjectivity:

Two different people could be looking at the same painting and one could say ‘oh I get this from that’ and the other might not even know what it is.

The students described their own creative processes in art at school as being where they can try and make anything they want to, as long as they can justify or explain their decisions and ideas. When I asked them what they learnt from doing art, one of the students suggested:

It helped me in other lessons especially in GCSE. In art you have to link it back [to an idea] and in English you always have to link things back to the question – to show meaning and interpretation.

Liz Shelbourne and her team at Halewood, clearly also have high expectations of their students, ensuring they critically examine their own responses and develop these ideas in their own work.

My encounters with Halewood students having their own encounters with art, creativity and culture has lead me to reflect on the importance of having opportunities to see the art and culture of European cities at close quarters, to access contemporary art in prestigious cultural spaces and to be given the space to respond freely.