Breaking the Mould Education Pack by Arts Council Collection

EDUCATION PACK

HOW TO USE THIS PACK

BREAKING THE MOULD SCULPTURE BY WOMEN SINCE 1945

BREAKING THE MOULD

EDUCATION PACK

CONTENTS

Cover: Rana Begum No.429 SFold, 2013 Arts Council Collection, Southbank Centre, London © the artist. Photo: Anna Arca

How to Use this Pack

About the Exhibition

Core Messages

About the Arts Council Collection

Before Your Visit

How to Read an Artwork

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Artwork Focus: Enquiry Questions & Activities Jann Haworth: Calendula’s Cloak Holly Hendry: Gut Feelings (Stromatolith) Sokari Douglas Camp: Audience (from Showboat, Alali Aru installation) Rana Begum: No.429 SFold Mona Hatoum: + and – Wendy Taylor: Inversion Rachel Whiteread: Untitled (6 Spaces) Rose Finn-Kelcey: God’s Bog Amalia Pica: Catachresis #40 (teeth of the rake, leg of the chair, leg of the table, head of the screw)

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References

Acknowledgements

HOW TO USE THIS PACK This education pack provides information, enquiry questions and activities to help your class explore the artworks and ideas in Breaking the Mould. These resources can be used before, during or after a visit to the exhibition, or in the classroom using images of the sculptures from this pack or from the Arts Council Collection website. Further suggestions are provided on the Before Your Visit page to prepare your class for a gallery visit, so they know what to expect, how to move around a gallery space and to develop confidence in this setting. This education pack is a springboard for you to develop your own ideas, discussions and schemes of work, which will complement and enhance your school’s curriculum. The activities have been labelled with suggested key stage levels, however the ideas in this pack can be adapted for any age group.

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The exhibition is divided into three accessible themes: FIGURED, FORMED and FOUND, and this pack explores three artworks from each theme in greater depth: FIGURED Jann Haworth, Calendula’s Cloak 1967 Holly Hendry, Gut Feelings (Stromatolith) 2016 Sokari Douglas Camp, Audience (from Showboat, Alali Aru installation) 1986 FORMED Rana Begum, No.429 SFold 2013 Mona Hatoum, + and – 1994 Wendy Taylor, Inversion 1970 FOUND Rachel Whiteread, Untitled (6 Spaces) 1994 Rose Finn-Kelcey, God’s Bog 2001 Amalia Pica, Catachresis #40 (teeth of the rake, leg of the chair, leg of the table, head of the screw) 2013

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Information, enquiry questions and activities are provided for each of the nine sculptures on easily digestible ‘cards’. You can focus on a specific artist and artwork, or use the enquiry questions and activities more generally to explore the themes of the exhibition. When meeting an artwork for the first time, it is sometimes challenging to know where to begin. The page titled How to Read an Artwork provides a structured series of questions to help you and your class unpick and understand any of the sculptures in the exhibition. We recommend using these questions for your initial enquiries, before graduating to the more in-depth enquiry questions linked to the sculptures on each card. If there are sculptures in the exhibition which you would like to explore that are not covered in this pack, then these questions provide a handy guide to help you find new ‘ways in’ to discovering and understanding.

When trying out the activities, remember to refer back to the artworks and related enquiry questions that inspired them, to ensure a deeper level of exploration and understanding is achieved. Cross-curricular links are provided for each of the nine focus sculptures, which offer entry points for further discovery and experimentation. We hope you enjoy exploring Breaking the Mould with your class and we would love to see your classroom creations. Please share your creativity with us: @A_C_Collection @artscouncilcollection Arts Council Collection #breakingthemould #artscouncilcollection

‘The enquiry into the contribution made by women working within the field of modern and contemporary British sculpture has still to be fully established. Breaking the Mould: Sculpture by Women since 1945 takes a first step towards a greater understanding of this subject. Operating on the principle of a ‘curatorial corrective’ and using the rich holdings of the Arts Council Collection as its starting point, the exhibition places sculpture by women front and centre.’ Natalie Rudd, Senior Curator at Arts Council Collection

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Breaking the Mould: Sculpture by Women since 1945, An Arts Council Collection Touring Exhibition, Longside Gallery, Yorkshire Sculpture Park, 29 May – 5 September 2021 Photo: Anna Arca © artists and estates 2021

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ABOUT THE EXHIBITION This major new touring exhibition challenges the male-dominated narratives of post-war British sculpture by presenting a diverse and significant range of ambitious work by women. Offering a radical recalibration, Breaking the Mould not only celebrates the strengths of sculpture made by women but also seeks to guard against the threat of slipping out of view. Through this deliberately restorative act, the exhibition seeks to inspire future generations, supporting the maxim ‘if she can see it, she can be it’. The exhibition surveys seventy-five years and explores the work of over forty sculptors. All of the works have been selected from the Arts Council Collection, which holds more than 250 sculptures by over 150 women. The exhibition features a number of new acquisitions, on public display for the first time since they were purchased for the nation.

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Breaking the Mould represents the strength and diversity of a wide range of practices. Many of the represented artists have challenged widespread notions of sculpture as a ‘male occupation’ by embracing new materials, subjects and approaches. Others have avoided institutional bias by producing work for alternative spaces or public sites. Breaking the Mould is an Arts Council Collection Touring Exhibition initiated in response to Women Working in Sculpture from 1960 to the Present Day: Towards a New Lexicon, a research project led by Catherine George (University of Coventry) and Hilary Gresty (independent). The exhibition emerged as a result of conversations between the Arts Council Collection team, Catherine George, Hilary Gresty and colleagues at participating tour venues.

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Breaking the Mould: Sculpture by Women since 1945, An Arts Council Collection Touring Exhibition, Longside Gallery, Yorkshire Sculpture Park, 29 May – 5 September 2021. Photo: Anna Arca © artists and estates 2021

FULL LIST OF REPRESENTED ARTISTS:

TOUR DATES & VENUES:

Anthea Alley, Phyllida Barlow, Rana Begum, Helen Chadwick, Alice Channer, Lygia Clark, Shelagh Cluett, Susan Collis, Jane Coyle, Katie Cuddon, Sokari Douglas Camp, Rose Finn-Kelcey, Jessie Flood-Paddock, Elisabeth Frink, Anya Gallaccio, Katherine Gili, Anthea Hamilton, Mona Hatoum, Jann Haworth, Holly Hendry, Barbara Hepworth, Shirazeh Houshiary, Karin Jonzen, Permindar Kaur, Mary Kelly, Liliane Lijn, Kim Lim, Gillian Lowndes, Sarah Lucas, Helen Marten, Mary Martin, Cathy De Monchaux, Lucia Nogueira, Margaret Organ, Emma Park, Cornelia Parker, Amalia Pica, Kathy Prendergast, Eva Rothschild, Meg Rutherford, Veronica Ryan, Grace Schwindt, Wendy Taylor, Hayley Tompkins, Shelagh Wakely, Rebecca Warren, Rachel Whiteread, Alison Wilding and Rosemary Young.

Longside Gallery, Yorkshire Sculpture Park Djanogly Gallery, Lakeside Arts, University of Nottingham The Levinsky Gallery, The Arts Institute, University of Plymouth Ferens Art Gallery, Hull The New Art Gallery Walsall Please note: not all works may be shown at all venues. Exhibition dates are subject to change: for the latest information please visit artscouncilcollection.org.uk

You can find out more about their work by visiting: artscouncilcollection.org.uk

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ABOUT THE EXHIBITION

CORE MESSAGES We hope that by exploring the artworks featured in the Breaking the Mould exhibition, your class will gain a greater understanding of the important and vital contribution women have made to the development of British sculpture over the past seventy-five years.

There are opportunities to: • Gain a greater understanding of the contribution made by women to

the field of modern and contemporary British sculpture

• Address the many accounts of British sculpture that have

marginalised women

• Challenge ingrained notions of sculpture as a ‘male occupation’ • Highlight some of the long-held assumptions of women working

in sculpture and reveal strategies to overcome them

• Acknowledge current conversations around gender and identity • Advocate for increased representation within the discourses of

modern and contemporary art

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ABOUT THE EXHIBITION

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ABOUT THE ARTS COUNCIL COLLECTION The Arts Council Collection is the largest national loan collection of modern and contemporary British art in the world. Founded in 1946, the Collection holds over 8000 artworks made by over 2000 artists, and includes important works by many of the UK’s most prominent artists. Each year exciting new artworks are bought, and the Collection grows. The Arts Council Collection supports artists based in the UK by purchasing and displaying their work and safeguards it for future generations, using the highest possible standards of collection care. The Arts Council Collection is unique in that it can be seen in lots of different galleries and in public places such as schools, universities, and hospitals. Works of art go out on loan for everyone to enjoy – a bit like library books. This might be an individual loan, or a larger group of works to create an exhibition.

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If your school could borrow one work of art, what would you choose? Where would the work go? How would it make the children feel to have a work of art by a famous artist on display at their school? Find out more about loans to schools by writing to: sculpture@southbankcentre.co.uk The Arts Council Collection is managed by the Southbank Centre, London, on behalf of Arts Council England and is based at the Hayward Gallery, London and at Longside, Yorkshire Sculpture Park. The centre at Longside enables the Arts Council Collection team to extend its conservation and lending programmes, and to increase public access to the Collection through exhibitions and learning opportunities. You can also follow us: @A_C_Collection @artscouncilcollection Arts Council Collection

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Cornelia Parker Fleeting Monument, 1985

BEFORE YOUR VISIT Here are some ideas and discussion prompts to help prepare your class for a visit to the exhibition, or, if unable to visit, before you begin the classroom activities.

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Think about how women have been represented in art throughout history. How many female artists can you name? How many female sculptors can you name? Who is your favourite female artist? Look at the timeline of events on the Arts Council Collection website, found on the digital resources section for Breaking the Mould. Do any of the facts surprise you? Research and consider what else was happening in the world, and more locally in the UK, during this time period. Reflect on the glossary of terms included in the timeline in red. What do think it means to be a feminist? How might feminism have changed over the past 100 years, and why? Consider your identity and how you express it. Share with a classmate the things that make up your identity.

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Why do you think this exhibition is important? How do you feel about seeing an exhibition featuring only the work of female artists?

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Before a visit to the exhibition, prepare your class by discussing their expectations. Have you ever been to a gallery before? What do you think it will look like? How do you think you should move around a gallery and why? What rules will you be expected to follow? What will you take with you?

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Describe one of the artworks in the exhibition to your class and ask them to draw what they think it looks like. On your visit, find the sculpture in the gallery and ask your class to reveal their drawings. Did they capture the sculpture accurately? What were the similarities and what were the differences?

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Before visiting the gallery or researching the artworks in depth, look at images of the sculptures and write your initial thoughts about them in your sketchbook. What materials has the artist used? What do you think the artist is trying to say? Why do you think the artist made this sculpture? Which sculpture is your favourite?

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After visiting the exhibition and/or conducting further research, what do you think about the sculptures now? Has your opinion changed? Now you have learned more about the artists and their sculptures, do you prefer a different sculpture, and if so, why? Has anything surprised you?

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Explore the digital resources associated with this exhibition, found on the Arts Council Collection website and YouTube channel. Find out more about the artworks and watch a video with artist Jann Haworth describing her work Calendula’s Cloak.

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If your class could borrow a sculpture from the exhibition to display in school, which one would you choose? Why? Where would you display it in school? Think about where it would make the most impact.

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HOW TO USE THIS PACK DID YOU KNOW? Karin Jozen’s Seated Nude, 1951 was the first sculpture by a woman to be purchased by the Arts Council Collection.

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HOW TO INTERPRET AN ARTWORK It can be challenging to know where to start when looking at and interpreting contemporary art. Here is a selection of structured questions to help get the conversation going with your class. They can be used to assess any artwork and will aid discussion and interpretation. The questions are structured in a tiered approach to enable progression. Begin with simple looking questions – what is it that you are looking at? Move on to finding connections with the wider world using your prior knowledge. Finally, use the information you have gathered to discuss the work in a wider context and to engage critically with how it relates to your class in their world today. Eva Rothschild Your Weakness, 2004

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LOOKING What are your first reactions to the artwork? What do you notice? What colours and shapes can you see? Why do you think the artist chose to use these colours? What is the surface of the artwork like? What kind of textures can you see? What is the scale of the artwork? How do you think the impact of the artwork would change if it were smaller or larger? What do you think the artwork looks like from different angles?

Grace Schwindt Position, 2018

What materials has the artist used?

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HOW TO INTERPRET AN ARTWORK

MAKING CONNECTIONS Why do you think the artist chose these particular materials to make the work? What associations do the materials have? How do you think the artwork was made? What does the sculpture remind you of? How does it make you feel? Why? What do you think the artwork is about? If you were to tell a story about this artwork, what would it be? What is the title of the artwork? Does knowing the title change your opinion of what the artwork is about?

Sarah Lucas NUD CYCLADIC 7, 2010

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HOW TO INTERPRET AN ARTWORK

DEVELOPING DISCUSSION What do you think the artist is trying to say and why? Why do you think the artist made this piece of work? Read the label accompanying the artwork: does this change what you think about it? When was the artwork made? What do you know about the social and political issues of this time period and how might they affect the meaning of the artwork? Do you think people will view the artwork in a similar or different way now compared with when it was made? Look at the other artworks positioned nearby. Are there any links between them? If so, what are they? Consider the environment in which the artwork is exhibited. What would the artwork look like if it were displayed somewhere else, for example, outside, in school or in your home? Can different people ever experience the same artwork in the same way? Discuss. Why do you think artists make art? How might art change the world? BREAKING THE MOULD

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Barbara Hepworth Icon, 1957

HOW TO INTERPRET AN ARTWORK

JANN HAWORTH CALENDULA’S CLOAK, 1967

Cloth 172.7 x 116.8 x 116.8cm

JANN HAWORTH CALENDULA’S CLOAK, 1967 ‘What thrilled me about cloth was that in the face of the air of male superiority at the Slade – I knew a whole language of expression that my male colleagues had no inkling of. I knew the language of cloth inside out.’ Calendula’s Cloak is a 1.7m tall figure draped in a vibrant patchwork cloak of coloured textiles. Jann Haworth was inspired to make Calendula’s Cloak after seeing paintings by artist William Cameron Menzies depicting the four seasons. Each coloured segment in Calendula’s Cloak represents a different season. Jann Haworth began using ‘female’ or ‘feminine’ materials at the Slade School of Art in the early 1960s as a response to the sexist attitudes she encountered amongst her lecturers and fellow students. ‘The assumption was that, as one tutor put it, “the girls were there to keep the boys happy”. He prefaced that by saying “it wasn’t necessary for them to look at the portfolios of the female students… they just needed to look at their photos”’.3 Haworth

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endeavored to challenge this way of thinking by deliberately using soft materials such as cloth, latex and sequins to develop a female language, which at that time, was less accessible to the men. Jann Haworth’s parents were also a great inf luence on her. Her mother taught her how to sew, and from the age of eight Haworth made dolls and most of her own clothes. Calendula is also the name of her mother’s favourite f lower. Her father was a Hollywood production designer, and she would visit him on set, taking inspiration for her own installations, which she likened to film sets. She was interested in the creative buzz behind the scenes, in the wardrobe and prop departments, and in the idea of the stand-in or dummy as a substitute for a real figure.

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DID YOU KNOW? Jann Haworth worked with Sir Peter Blake to design The Beatles’ Sgt. Pepper’s Lonely Hearts Club Band album cover.

You can find out more about the artwork by watching this film featuring a conversation between Jann Haworth and pupils at Gomersal Primary School: Artist Interview: Jann Haworth answers questions from pupils at Gomersal Primary School

Jann Haworth photographed in 1966 wearing Rainbow Cloak and standing among her works, Calendula's Cloak and The Devil © Jann Haworth. Photo: Gordon House

JANN HAWORTH: CALENDULA’S CLOAK

ENQUIRY QUESTIONS Use the questions from the ‘How to Read an Artwork’ section to make your initial enquiries and then move onto the prompts below: Would you describe this artwork as a sculpture? Why? In the gallery: walk around the artwork, taking in the detail and the whole object. In school: Look at images of the artwork from different angles. What do you notice from different viewpoints? When you first looked at this artwork, did you imagine it to be made by a male or a female artist? Discuss. Explore the idea that some materials appear masculine and some feminine.

didn’t have access.’ Why do you think she did this? Calendula’s Cloak was made in 1967: consider the traditional hierarchy of materials and how this has changed over the past 50 years. Think about the skill required to make this patchwork cloak. Discuss the value placed on this traditionally female activity and consider the traditional gender roles of domestic labour. Calendula’s Cloak was stitched by hand, which at the time of its making in the 1960s was a novel and innovative way of making sculpture. Sewing is a craft which is perceived as ‘low art’. What are the differences between ‘low’ and ‘high’ art? Why is craft considered to be ‘low art’? Can you think of any contemporary artists who challenge this idea?

Jann Haworth explains that she chose traditionally ‘feminine’ materials, such as cloth, sequins, and latex to make her sculptures. She believed that by using these materials, she was using ‘a female language to which the male students

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JANN HAWORTH: CALENDULA’S CLOAK

ACTIVITIES EXPLORING IDENTITY KS1 KS2 KS3 How is our identity expressed through what we choose to wear? Consider the colours and images that represent your personality and interests and think about your core values and beliefs. Design a cloak or piece of clothing which represents your identity. Work together to design a cloak inspired by the things that are important to you and your class. Use a large piece of plain material and decorate with fabric paints or patches of patterned fabric etc. Drape the finished collaborative artwork over a member of the group. COLOUR EXPERIMENTS KS1 Experiment with coloured paint to create effects resembling the patterns on Calendula’s Cloak and use them to create a patchwork collage:

2. Drop different coloured paints into the foam and swirl around using a stick or the end of a paintbrush. 3. Lightly place a piece of card/ paper on top of the foam and lift out. 4. Scrape off the remaining shaving foam to reveal a colourful marbled pattern. 5. Once dry, cut the marbled effect papers into smaller pieces and use them to create a patchwork collage.

GENDERED MATERIALS KS3 KS4

ARTWORKS AS INSPIRATION KS2 KS3 KS4

Discuss the idea of gendered objects and materials. Ask each pupil to bring in an object from home that they feel is ‘gendered’. Ask them to present it in a show and tell format, explaining why they believe their object is gendered. Follow this with a group discussion.

PATCHWORK KS2 KS3

Discuss assumptions, constructs within society, how we view ‘gender’, and what the limitations and/or possibilities are that arise from seeing gender.

In the film, Jann Haworth explains that Calendula’s Cloak was inspired by four paintings by the artist William Cameron Menzies. Many artists are inspired by the work of their contemporaries or artworks from the past. Ask students to pick their favourite artwork from the exhibition to inspire them to create their own unique sculpture. Students should not copy the sculpture, but instead think about the shapes, forms, colours, textures and ideas to inf luence their own making.

Jann Haworth used patchwork to make Calendula’s Cloak. Create your own patchwork by cutting strips from materials that represent you, i.e. patterned fabrics, food packaging, old bed sheets and clothes. Use a simple stitch to sew them together to create a small patchwork mat. If sewing is an issue, use glue to attach the pieces together. Join or sew everyone’s patchwork mat together to create a collaborative artwork to hang in your classroom.

When you next go into a shop, have a look for product packaging that is gender specific, i.e. a product which is wrapped in either blue or pink packaging. What images are there on the package? Compare prices between the different products.

Choose one of your favourite paintings and make a quick sketch of it, picking out elements which are the most interesting to you, such as shapes, forms, colours, or ideas. Make a sculpture inspired by this painting. What parts will you use? Which will you leave out? Why?

1. Spray a layer of white shaving foam into a shallow tray.

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JANN HAWORTH: CALENDULA’S CLOAK

LINKS TO OTHER CURRICULUM AREAS LITERACY Write a poem or story about Calendula’s Cloak. Imagine who might have worn it and what adventures they might have had. Use descriptive language, e.g. adjectives, similes, or alliteration. RE Read the story of Joseph and His Coat of Many Colours from the Bible. PSHE Discuss gender – think about our assumptions, constructs within society, how we view ‘gender’, and what the limitations and/or possibilities are that arise from seeing gender.

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JANN HAWORTH: CALENDULA’S CLOAK

HOLLY HENDRY GUT FEELINGS (STROMATOLITH), 2016

Plaster, steel, aluminium, cement, marble, Jesmonite, birch plywood, pigment, rock salt, soap, rawhide dog chew 170 x 225 x 100.5cm

HOLLY HENDRY GUT FEELINGS (STROMATOLITH), 2016 ‘The thinking and making for these works revolves around edges – architectural edges, body edges, the meeting of edges, the puncture of edges.’ 4

‘I figure out new techniques with materials. My ideas usually require invented methods. Sometimes things don’t happen exactly as I planned but the end result might be better than I had imagined.’ 5

Gut Feelings (Stromatolith) depicts a geological-style cross section of materials which have been layered, compressed and moulded together into a rectangular block. Layers of cement, marble, Jesmonite and birch plywood are interspersed with small details such as a dog chew and laser cut shapes. The central piece is accompanied by a white metal framework which supports white, cylindrical cast objects. These objects appear to have been sliced in half as though part of a larger network of tubes. The white metal armature is punctuated by bite marks, suggesting the material it is made from is soft enough to bite, playing with our expectation of the material’s properties. By

experimenting with materials and their properties, Hendry creates unique shapes, textures and forms which have now become recognisable as her own distinct sculptural language.

The positioning of Hendry’s work invites the viewer to consider its relationship to the architecture of the exhibition space. Titles are also an important part of Hendry’s work and often juxtapose the smooth, seductive forms and pastel colours, by suggesting breakdown or decay, or an element of muckiness.

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Her work references that which is found beneath the surface, either underneath the ground, hidden within the walls of buildings, or under the skin. Hendry is interested in the borders between things, edges, and the contrast between inside and outside. In Gut Feelings (Stromatolith), it appears Hendry has sliced through the layered materials to reveal a cross section, giving the inside an edge.

HOLLY HENDRY: GUT FEELINGS (STROMATOLITH)

ENQUIRY QUESTIONS Use questions from the ‘How to Read an Artwork’ section to make your initial enquiries, then move on to the prompts below: Look closely at the artwork, how do you think it might feel to touch?

Think about what is underneath your skin. Consider what makes us who we are. Why do we keep certain things hidden?

Why do you think this artwork is part of the group ‘Figured’? How do you think the title of the work relates to the sculpture? What is meant by the term ‘gut feelings?’ Holly Hendry is interested in what lies beneath the surface of things, either underground or beneath the skin. Consider what might be found under the ground where you live. How might this have changed over time?

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HOLLY HENDRY: GUT FEELINGS (STROMATOLITH)

ACTIVITIES JELLIES KS1

BODY CROSS SECTION KS2 KS3

WHAT LIES BENEATH THE SCHOOL? KS2 KS3

LINKS TO OTHER CURRICULUM AREAS

Make jellies with different coloured layers using traditional jelly moulds. Allow each layer to set before adding the next colour. Add found objects to each layer of jelly. Once fully set, slice through the jelly to reveal the different layers and the hidden treasures within.

Draw a cross section of the body or part of the body and draw what you think is inside. Compare your results with images from a science textbook.

Find a patch of soil either at school or at home and video yourself digging up objects from the ground. Make a collection of everything you find e.g. stones, twigs, bits of plastic or metal.

GEOGRAPHY Explore the layers of the earth, archeology and mining – what histories are revealed when we dig up the ground beneath us?

LAYERED COLLAGE KS1 KS2 Make a collage/drawing/painting inspired by the shapes and colours in Holly Hendry’s work Gut Feelings (Stromatolith). Cut your finished artwork into strips and give 4 or 5 of your classmates a piece of your work, making sure to keep at least one piece for yourself. Collect 4 or 5 strips from other members of your class and create a new collage by layering all the pieces together. How does your artwork look now? What do the different layers reveal?

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Draw a second cross section and fill it with drawings of the things that you are passionate about. If you could slice yourself in half, what would we find? What are your passions? What drives you? FOUND OBJECTS KS1 KS2 KS3 Collect 10 objects that would ordinarily be thrown away and create a sculpture using only these objects. Think about where these waste materials would ordinarily end up and ref lect on the importance of reusing and recycling.

Imagine these objects will be exhibited in a museum. Clean, display and photograph these objects in a way that heightens their importance. Write text labels for them imaging what the history of each object could be – write as imaginatively and creatively as you can. What would you want to know about this object if you saw it in a museum or gallery? The video of the ‘dig’ can be presented alongside your exhibition.

SCIENCE Explore the digestive system - does the sculpture remind you of any part of the digestive system? Consider our skin – why is it important? Learn about the layers of tissue that make up the skin. PSHE What is meant by the term ‘gut feelings’? Have you ever experienced a ‘gut feeling’? Discuss hidden depths and feelings.

Discuss: Why are objects displayed in museums? Why do some objects have greater value than others? How does the mode of display change the value we place on an object?

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HOLLY HENDRY: GUT FEELINGS (STROMATOLITH)

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HOLLY HENDRY: GUT FEELINGS (STROMATOLITH)

SOKARI DOUGLAS CAMP AUDIENCE (FROM SHOWBOAT, ALALI ARU INSTALLATION), 1986

IMAGE OVERLEAF: Steel, 195 x 125 x 60cm and 195 x 225 x 60cm

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SOKARI DOUGLAS CAMP AUDIENCE (FROM SHOWBOAT, ALALI ARU INSTALLATION), 1986 ‘There’s a lot of influence to play with out there and that’s what’s exciting…the more people experiment and converse about cultural experiences, the better.’ 6 Audience formed part of a larger installation by Sokari Douglas Camp called Alali Aru (1986) (see image opposite). The artist was born in Buguma, Nigeria, a large Kalabari town in the Niger Delta in West Africa. In Alali Aru, the artist references her Nigerian heritage by recreating the showboat and audience members from the 1984 Kalabari masquerade festival. Kalabari festivals celebrate ancient water spirits, mythological figures and village ancestors. A male masquerade performer wearing an ornate costume performs in a boat to impress a female audience who determine his fate. Douglas Camp is fascinated by Kalabari festivals and her work is often inspired by their sounds, colours and movement.

Sokari Douglas Camp uses sheet steel to make her sculptures: welding, cutting, and bending the metal to create her desired shapes. She creates movement in her sculptures by welding smaller pieces of steel together in a pattern, as seen here in the f lowing skirt and waving arms of the standing figure, Eriabo. There is a contrast between the delicacy of the sculpture’s individual components, particularly the hands and heads of the figures, and the robust properties of the steel used to make them.

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Sokari Douglas Camp studied art at Central School of Art & Design and the Royal College of Art, London. She currently lives and works in London. Her artistic practice combines elements of her Nigerian Kalabari heritage with Western inf luences and contemporary issues.

Sokari Douglas Camp, Alali Aru Festival Boat with Masquerader, 1986 7

SOKARI DOUGLAS CAMP: AUDIENCE (FROM SHOWBOAT, ALALI ARU INSTALLATION)

ENQUIRY QUESTIONS Use questions from the ‘How to Read an Artwork’ section to make your initial enquiries, then move on to the prompts below: Examine the material used to make these sculptures. Why might the artist have chosen to use welded steel?

How might a culture’s heritage shape an artwork? Consider traditional craftsmanship and skills, symbols and imagery, social practices, traditions and rituals. What is your culture and how do you express it? How is your culture ref lected in your day-to-day life?

Who and what do you think these sculptures represent?

Ref lect on the term ‘cultural capital’ and what it means to you.

What do you think the figures are doing? Where might they be?

Are you proud of your heritage? Why?

What might the relationship be between the figures?

Why might it be important for us to learn from the past?

Compare these sculptures to other figurative sculptures in the exhibition. What is similar about them? What is different?

Sokari Douglas Camp, detail from Audience, 1986

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SOKARI DOUGLAS CAMP: AUDIENCE (FROM SHOWBOAT, ALALI ARU INSTALLATION)

ACTIVITIES CULTURE AND IDENTITY KS2 KS3 KS4

DRAWING AND SHADING SKILLS KS2 KS3

Sokari Douglas Camp was born in Nigeria and now lives in the UK. She refers to aspects of both cultures in her artwork. Discuss concepts of identity, culture, and heritage: how important are they in your world today?

Looking closely at one of the sculptures, sketch the shapes and patterns you can see, experimenting with a range of shading techniques. Pay close attention to the textures, the light and dark areas of the sculpture and draw them using different grades of pencil.

PAPER COLLAGE SHAPE FAMILY KS1 Select different coloured and textured papers which ref lect aspects of your personality, identity, culture or heritage and create a ‘family’ of figures. Cut out different paper shapes. Arrange and glue them into place to create your figures. Observe how Sokari Douglas Camp uses areas of transparency and pattern within her artwork. Consider the pose of each figure and where they are positioned in relation to one another.

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Draw a portrait of a classmate using only one shape i.e. triangles or squares. WIRE SCULPTURES KS2 KS3 Make a continuous line drawing of a friend or classmate in a pose of their choosing, ensuring your pencil stays on the page. Set a timer if possible (e.g. 30 seconds) so that you don’t add too much detail, as this will make it more difficult to create your sculpture.

Add pieces of foil by pinching and wrapping it around the wire to create clothing, body parts or additional details. Create a number of these sculptures to form a group and explore different ways of displaying them.

LINKS TO OTHER CURRICULUM AREAS GEOGRAPHY Sokari Douglas Camp was born in Nigeria, Africa. Investigate what it is like to live in Nigeria. Consider the climate, geography, wildlife, culture, and history. LITERACY Suggested books for younger pupils to assist with learning about other cultures: Handa’s Surprise by Eileen Browne, or The Water Princess by Georgie Badiel. PSHE Explore the many variations of what a family can be. Discuss your heritage and share with the class. Compare and celebrate the similarities and differences between you.

Use thin, malleable wire and a piece of aluminum foil. Position the wire on top of the continuous line drawing, carefully bending the wire to follow the lines.

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SOKARI DOUGLAS CAMP: AUDIENCE (FROM SHOWBOAT, ALALI ARU INSTALLATION)

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SOKARI DOUGLAS CAMP: AUDIENCE (FROM SHOWBOAT, ALALI ARU INSTALLATION)

RANA BEGUM NO. 429 SFOLD, 2013

Paint on mirror finish steel 55 x 62 x 19cm

RANA BEGUM NO. 429 SFOLD, 2013 ‘When people look at my work they associate it with gender and it’s usually male, and I find that quite interesting, but I don’t think the work shows one or the other, for me it’s more about light, colour and form.’ 8 Rana Begum creates work which blurs the boundaries between painting, sculpture, and architecture. She is inspired by the geometric forms she finds in nature and the patterns and shapes in Islamic art and architecture. Rana Begum was born in Bangladesh in 1977 and moved to the UK when she was 8 years old. She recounts how her approach to making art came from a childhood experience in Bangladesh while she was reading the Koran in her local mosque. The morning light dappled the small room she was sitting in, and the light and repeat patterns came

together to create a moment of harmony and exhilaration, which she now strives to replicate in her own work.

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Light and colour are key components of Begum’s practice. She often paints her sculptures, as seen here in the wall-mounted work, No. 429 SFold. She is interested in how colours and shadows transform as the light changes and as the viewer moves around the work. Begum engages with what she calls ‘a common language of colour, form and pattern’ that ‘transcends nationality, class and gender’.

Begum usually works with metal, particularly steel and aluminium, but has also used copper, brass, and wood. She feels it is important to understand the properties of materials and she likes to connect physically with the work, manipulating the sheet metal into minimal, abstract forms. Artist Interview: Rana Begum

RANA BEGUM NO. 429 SFOLD

ENQUIRY QUESTIONS Use questions from the ‘How to Read an Artwork’ section to make your initial enquiries, then move on to the prompts below: What shapes and colours can you see? Consider whether this work is a painting or a sculpture. Consider how this artwork might look if it were presented on a plinth or on the ground. Would it change your view or opinion of it?

Rana Begum describes how being still and noticing the world around her created a moment of harmony which has inf luenced her practice ever since. Have you ever experienced a moment of harmony or clarity which has shaped the way you view or experience the world? How and why might our life experiences inf luence the kind of artwork we make?

How does light affect the artwork? What do you notice? Consider how this artwork might look at different times of day or placed in different locations.

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RANA BEGUM NO. 429 SFOLD

ACTIVITIES INITIAL ACTIVITIES KS1 KS2 Fold a piece of paper in as many different ways as you can. How many folds can you make in one minute? Using one sheet of A4 paper, create a sculpture - transforming 2D into 3D. Explore the different types of folds found in origami. Rana Begum is interested in the repeat patterns she sees in architecture and the environment around her. Look for patterns in your home, at school, or on your journey to and from school, and make a record by drawing or photographing them. DRAWING AND SHADING SKILLS KS2 KS3 KS4 Look closely at the lines, shapes, and areas of light and shade on No.429 SFold. Make a drawing of the sculpture and use different grades of pencil to experiment with and explore shading.

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Scrunch up a piece of white paper into a loose ball, then draw it using a range of different graded pencils to accentuate the shadows and folds. FOLDED SCULPTURE KS1 KS2 KS3 KS4 After exploring different ways of folding paper to create threedimensional shapes, use your new knowledge to develop a final design. Use different coloured paper or card to make your final piece, thinking about where you will place each colour and how the colours will interact with each other. Become a curator and consider how your sculpture should be displayed. Would it suit an outdoor environment? How does it look placed on a white plinth or on a wall in a gallery?

Think about why Rana Begum chose to call her artwork No. 429 SFold. Give your folded paper sculpture a name. Does it resemble any letters or shapes? Design and write a name label for your artwork. Draw your sculpture, focusing on shading to make your drawing appear three-dimensional. Experiment with shadows by shining a torch onto your sculpture from different angles. Notice the shape, size and colour of the shadows. Photograph these shadow experiments to stick in your sketchbook.

LINKS TO OTHER CURRICULUM AREAS MATHS Identify different types of triangles in the artwork (isosceles, scalene, right-angle, equilateral). Experiment with creating nets of 3D shapes with coloured paper or card. SCIENCE Investigate the physics of light and darkness. Explore the size and shapes of shadows by shining a torch on your paper sculptures from different angles. Try this outside on a sunny day and draw around the shadows on the ground with chalk. Notice how this changes throughout the day.

Photograph your sculpture in different environments and record it in your sketchbook.

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RANA BEGUM NO. 429 SFOLD

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RANA BEGUM NO. 429 SFOLD

MONA HATOUM + AND -, 1994

Wood, metal & sand 8 x 30 x 30cm

MONA HATOUM + AND -, 1994 ‘I don’t refer to specific political issues directly but it comes into my work. Political issues are in the back of my mind and filter through the work while I am focusing on the material and its formal and aesthetic qualities… The tension emerges from the work’s reduced form and the intensity of its possible associations.’ 9 Mona Hatoum’s + and – consists of a box of sand and a motorized arm which continually rotates to make and remove marks in the sand. On one end of the arm is a toothed piece of metal which creates grooves in the sand as the arm rotates. The opposite end supports a f lat piece of metal, which subsequently smooths out and erases the marks in the sand. This work plays with the idea of opposites, of creation and destruction, presence and absence, mark making and erasure. Hatoum often transforms everyday objects, altering them in a way to appear uncanny or contradictory. Her works can seem simultaneously mesmerizing yet disturbing, stirring up conf licting emotions.

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+ and – is a kinetic sculpture, meaning it relies on motion for its effects. Artists have used movement in art since the early twentieth century, either mechanically by using motors, or by taking advantage of the natural f low of wind and air. Movement generates an association with time, which is ref lected clearly in Hatoum’s + and -. The viewer becomes transfixed by the hypnotic, repetitive motion of the mark making and erasure, and time begins to drift by unnoticed. In terms of material structure, the shape and composition of the work and continual motion of the arms is reminiscent of a clock.

Find out more about Mona Hatoum’s work + and – and discover more of her works in the Arts Council Collection:

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MONA HATOUM: + AND -

www.artscouncilcollection.org.uk/explore/ artist-month/mona-hatoum

ENQUIRY QUESTIONS Use questions from the ‘How to Read an Artwork’ section to make your initial enquiries, then move on to the prompts below: How might this artwork challenge our ideas of what a sculpture can be? What does the name of the artwork encourage you to think about?

Can a work of art be created through an act of erasure? Consider the following artworks in relation to Mona Hatoum’s + and -: Robert Rauschenberg: Erased De Kooning Drawing (1953), John Baldessari: Cremation Project (1970), Michael Landy: Break Down (2001).

If the motor stopped and the two metal arms remained static, how might this change the meaning of the artwork? Why is it important to keep moving forward? When might it be appropriate or necessary to destroy or erase something?

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MONA HATOUM: + AND -

ACTIVITIES INITIAL ACTIVITIES KS1 KS2 View a video clip of the artwork in action: https://w w w.youtube.com/ watch?v=ZxoXSUO8Y-I Consider the similarities of this artwork with drawings you might have made on the beach and watched disappear as the sea washes them away. Explore the raked sand of Japanese Zen gardens and learn about how Buddhist monks rake the sand as part of their practice of meditation. Sand raked into a round, spiral or rippled pattern represents the sea. The gardens are used to promote mindfulness, inner peace, and wellbeing. Create your own Zen garden as a group or as a homework project using sand or gravel and small pebbles. SAND ART KS1 Use PVA glue to create lines and patterns on a sheet of paper. Pour sand over the wet glue, then tap off the excess to reveal your pattern.

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Fill a shallow tray with a thin layer of sand. Find a wide range of tools to create different patterns and marks in the sand. Capture each pattern with a photograph. Shake the tray gently to smooth out the sand. Discuss how art can be ephemeral. Could the artwork be the creative process of making and destroying, rather than the finished product? Think about how you move your body when you make certain gestures. Could you enlarge your sand drawings to a gigantic scale outside? Explore sand mandalas and learn about this Tibetan Buddhist tradition of creation and destruction.

MARK MAKING KS1 KS2 KS3

LINKS TO OTHER CURRICULUM AREAS

Experiment with a range of mark making tools. How many different marks can you make?

PSHE Consider the title + and – and prompt a discussion around positive and negative behaviour. Use the act of smoothing the sand out after being drawn on to encourage discussion around the phrase ‘wiping the slate clean’ and forgiveness.

Try using corrugated cardboard, sponges, forks dipped into paints etc. Remove or cover some of these marks using a rubber, paint, or pieces of paper to create a new image. Explore mark making outside using water and a range of tools and brushes. Create patterns in the playground or on a concrete surface. The results will disappear quickly as the ground dries.

Working in pairs, make marks in a tray of sand using a range of different objects and tools, while the second person erases the marks as they are being made, using a f lat, wide object i.e. a piece of cardboard on a stick. Film the action on a camera phone to make a mesmerising video of creation and destruction.

How quickly does your artwork last? How does this link to Mona Hatoum’s artwork?

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MONA HATOUM: + AND -

SCIENCE Think about the positive and negative poles of magnets and batteries. Consider the rotating mark making device and how it reminds us of the continuity of time, or how planets revolve on an axis.

Design two mark making tools and attach them to a ‘spinning device’, one at each end. Spin your device so that the tools make marks either on paper using paint, in a tray of sand, or with water on the ground.

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MONA HATOUM: + AND -

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WENDY TAYLOR INVERSION, 1970

Steel, lacquer and aluminium 89.2 x 275 x 95.3cm

WENDY TAYLOR INVERSION, 1970 ‘I was the only female in my year [at art school] – it was hell’ (Wendy Taylor reflecting on her time at St Martin’s School of Art from 1962–67) Inversion is composed of steel chains and a large aluminium slab which appears to want to f loat into thin air. The chains stand on the ground, tethering the aluminium form in space. Wendy Taylor’s work creates a sense of illusion and challenges our understanding of the properties of materials. The sculpture appears to be defying gravity, balancing precariously in the exhibition space. ‘Wendy Taylor was one of the first artists of her generation to “take art out of the galleries and onto the streets.” ’ 11

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Many of Taylor’s sculptures experiment with visual contradictions and a distorted sense of balance and movement. You can find more of her work on her website: w w w.wendytaylorsculpture.co.uk The artist is best known for her large scale, site-specific, public sculptures, of which over seventy can be found in the public realm. Her most notable works are Timepiece (1972–73) at Tower Bridge and Octo (1979–80) in Central Milton Keynes, which are both Grade II listed.

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WENDY TAYLOR: INVERSION

ENQUIRY QUESTIONS Use questions from the ‘How to Read an Artwork’ section to make your initial enquiries, then move on to the prompts below: How might the scale of this work have affected the artist’s choice of materials? Do you think this artwork would have the same impact on a different scale? What do you think it would look like upside down?

Look at the title of the artwork. How does this aid or change your understanding of the artwork? Consider why the artist might want to challenge our expectations. What is an illusion? How do illusions work? How might this artwork change our concept of reality?

How does this artwork make you feel? If you had to describe this sculpture to someone who couldn’t see it - what would you say? Think about the words you would use to describe it.

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WENDY TAYLOR: INVERSION

ACTIVITIES INITIAL ACTIVITIES KS1 KS2

LANGUAGE AND SCULPTURE KS2 KS3

PUBLIC ARTWORK KS2 KS3 KS4

LINKS TO OTHER CURRICULUM AREAS

Wendy Taylor makes sculptures which challenge our expectations and defy gravity. Cut out five simple shapes (square, circle, triangle etc.) from coloured paper and assemble them in different ways on your page to create forms which experiment with ideas of balance. Draw around the shapes to create a record of each new form.

Using the words ‘balance’, ‘movement’ and ‘chance’ as a starting point, make a sculpture out of recyclable materials to ref lect one or more of these words.

Wendy Taylor has made many outdoor site-specific sculptures. If you were to make and exhibit a public sculpture in the place where you live, what would it look like? What would your sculpture represent? What would it be made from? Think about what is important to the place where you live, i.e. values, traditions, people. How would you portray this in an artwork? Where would you position your public artwork and why?

SCIENCE This artwork promotes conversations about balance, forces, gravity, and the fundamental laws of physics.

Cut out a range of shapes from thick cardboard. Think about how you might assemble them into one form. Cut slits in the edges of each shape and join them together by sliding the shapes together. Experiment with scale and ensure the sculpture can stand freely. Exhibit them together as a class. Photograph your cardboard sculptures from different angles to experiment with scale and perspective i.e. photographing closeup and from below will make your sculpture appear larger than it is.

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Create a sculpture from recyclable materials which possesses an element of surprise or intrigue or challenges perceptions. Think about scale, form, and balance. Use Richard Serra’s Verblist as a springboard to make a sculpture.

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WENDY TAYLOR: INVERSION

PHOTOGRAPHY Experiment with perspective by photographing your sculptures in different settings and from different angles.

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WENDY TAYLOR: INVERSION

RACHEL WHITEREAD UNTITLED (6 SPACES), 1994

Resin 6 parts, total, 40 x 313 x 41.5cm

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RACHEL WHITEREAD UNTITLED (6 SPACES), 1994 ‘I use a direct casting technique to reveal the negative, manipulating apparently mundane, domestic items to produce pieces that surpass their original identity’ 12

Untitled (6 Spaces) is a series of resin cubes made by casting the space found beneath six different chairs. Rachel Whiteread’s sculptures are often constructed from the negative space found inside, between or underneath things. She uses domestic objects and interiors as her moulds, and casts their internal spaces with either plaster, concrete or resin. Whiteread turns negative space into a positive sculptural mass. These unique forms bear the intricate traces of history, by capturing the surface marks and scratches accumulated over the years.

‘Seeing a great piece of art can take you from one place to another—it can enhance daily life, ref lect our times and, in that sense, change the way you think and are.’13

work, between the monumentality of scale and the intimacy of the surface, and allows the shape of the negative space to determine the form of the sculpture.

On closer inspection, the knocks and scrapes of each chair can be seen imprinted in the translucent coloured resin of Untitled (6 Spaces), and the rungs of the chairs reveal themselves as grooves running along the surface. Rachel Whiteread explores the memories embedded in familiar everyday objects and asks us to consider their histories and hidden narratives. She gives permanence to human traces, evoking a sense of loss. Whiteread also presents a juxtaposition in her

Rachel Whiteread was the first woman to win the prestigious Turner Prize in 1993, following her momentous work House (1993): a life-sized cast of a condemned Victorian terraced house in the East End of London. This work only existed in situ for 80 days until it was demolished. Another pivotal work is her Holocaust Memorial (2000) in Vienna, a cast of a library, lined with nameless books to commemorate the 65,000 Austrian Jews who died in the Holocaust.

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RACHEL WHITEREAD: UNTITLED (6 SPACES)

ENQUIRY QUESTIONS Use questions from the ‘How to Read an Artwork’ section to make your initial enquiries, then move on to the prompts below: What do you think these sculptures are? In the gallery: Look at them closely. At school: zoom into an image of the artwork on screen. What can you see? Has a closer view changed your opinion of what they could be? How do you think these sculptures were made?

Who do you think might have sat on these chairs? Consider the many ways we leave traces of ourselves. Think of the ways you have left your mark on the world, either physically, emotionally or in some other way. Is it important for us to leave a trace of our existence? Are memories important? Why? What legacy would you like to leave? What would you like to be remembered for?

Why do you think the artist presented six forms together? What might be the link between them?

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RACHEL WHITEREAD: UNTITLED (6 SPACES)

ACTIVITIES INITIAL ACTIVITIES (MARK MAKING, RUBBING, AND IMPRINTING) KS1 KS2 KS3

NEGATIVE SPACE PRINTING KS1 KS2

Investigate and examine the traces and marks found on furniture and objects in the classroom. Create rubbings from underneath a desk, chair, or other areas of the room. Collect a page of rubbings and compare the different marks and patterns.

Cut different shapes into a printing block and print the space left behind. Experiment with different designs in your sketchbooks. Make the printing block from either cardboard, polystyrene tiles, foam board, sponges or carved potatoes. Use scissors or a craft knife (depending on the age group) to cut out the shapes of the design. Use a roller or paintbrush to apply paint to the block, then press down onto paper to create a print. Older pupils could be encouraged to create a repeating pattern, overlapping patterns or using a range of colours.

Make a series of marks or rubbings which record your journey to school.

NEGATIVE SPACE SCULPTURE KS2 KS3 KS4

Make a series of marks, prints and indentations which act as a record of your life journey so far.

Explore the concept of negative space using air drying clay, salt dough or plasticine. Create imprints and indentations using objects found in the classroom or around school e.g. furniture, tools, parts of the building. Ensure you do not leave coloured stains or damage school property! Produce a series of

Discuss the concept of ‘negative space’. Explore this by drawing the spaces beneath, around, and in-between an object, rather than the object itself.

Use plasticine or clay to make imprints using your body, your home, objects in your house or furniture etc.

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these sculptural forms and arrange them in a sequence, like Untitled (6 Spaces). Consider their order in terms of height, scale, colour etc. Explore the idea of negative space further by creating a mould: 1. Place a layer of clay, plasticine, or salt dough (approximagely 2cm deep) at the bottom of a small container (takeaway containers are ideal). Press small objects into the clay, such as Lego pieces, stationary, paper clips, toys, ornaments etc., ensuring that the objects are raised slightly out of the clay. 2. Paint the top of the clay and embedded objects with a thin layer of Vaseline. This will help when removing the sculpture later. 3. Pour either plaster of Paris, concrete, wax, or jelly on top, and fill to the top of the container. 4. Once set, remove your sculpture from the container and carefully peel off the layer of clay and objects to reveal the negative spaces inside.

RACHEL WHITEREAD: UNTITLED (6 SPACES)

LINKS TO OTHER CURRICULUM AREAS PSHE Encourage pupils to discuss their memories. What are their favourite memories? How do we leave our trace on the world? How would they like to be remembered? Are memories important?

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RACHEL WHITEREAD: UNTITLED (6 SPACES)

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RACHEL WHITEREAD: UNTITLED (6 SPACES)

ROSE FINN-KELCEY GOD’S BOG, 2001

Jesmonite, polypropylene, paint 45.7 x 43.2 x 40.6cm

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ROSE FINN-KELCEY GOD’S BOG, 2001 ‘I work in the belief – or dare – that I can continue to reinvent myself and remain a perennial beginner.’ 14 God’s Bog is a sculpture made from jesmonite, combining a large seashell and a toilet. The artist Rose Finn-Kelcey has brought together two very disparate objects in a playful and intriguing way, inviting us to think about the value we place on each of them. Themes of religion and spirituality often feature in her work, tinged with a dry sense of humour and a cartoon-like appearance. The title God’s Bog ref lects the contrasting features of the sculpture, referring to both the sacred and the mundane. The clean, white, shiny surface enhances the object’s appearance, heightening its importance as though it were a treasured artefact. The juxtaposition of the open toilet lid invites the viewer to imagine the

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waste that gets f lushed into the sea each day, and our impact on the natural world. Finn-Kelcey combines contrasting components to suggest new ways of thinking. Finn-Kelcey became a prominent figure in the UK performance and feminist art communities of the 1970s. She produced work in a wide range of media, including sculpture, photography, video, performance, sound and installation, which explored the challenges of working as a woman in the art world. Find out more here: www.artscouncilcollection.org.uk/ explore/artist-month/rose-finnkelcey

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ROSE FINN-KELCEY: GOD’S BOG

ENQUIRY QUESTIONS Use questions from the ‘How to Read an Artwork’ section to make your initial enquiries, then move on to the prompts below: Why do you think the artist has brought these two particular elements together? How does the title relate to the sculpture? What do you think the artist would like us to think about?

What is the relationship between religion and daily life? Compare your lived experience with those of others. What do you value or consider to be sacred? Is there anything in your daily life that provides a spiritual experience? What does God mean today? How do you think this has changed over time?

What might the relationship be between art and religion?

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ROSE FINN-KELCEY: GOD’S BOG

ACTIVITIES INITIAL ACTIVITIES KS2 KS3 Discuss the title of the artwork and how it plays with language, juxtaposing ‘high’ and ‘low’ references. Devise your own version e.g. Angel’s Sink, King’s Hoover, Queen’s Trolley, and draw examples of what a sculpture with this title would look like. HYBRID OBJECTS 2D KS2 KS3 Draw an item that is precious to you. Present it in a way that makes it appear special and elevates its status. Next, draw or stick a photograph of something everyday or mundane to your drawing in an imaginative way. What would you like the viewer to think about when they look at your creation?

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Cut out two objects from a magazine, leaf let, or furniture catalogue. Pick one which you think is valuable, and one which is not. Join them together in a creative way and think of a title for your hybrid object.

Create ice sculptures by freezing moulds filled with water and everyday objects. Once frozen, release from the mould and watch as the form begins to melt. Record the melting process with video or photographs.

HYBRID OBJECTS 3D KS1 KS2 KS3 KS4

Find an object from home which you think is everyday or mundane. Embellish it with decorations to elevate its status and present it in a class exhibition.

Rose Finn-Kelcey creates contradictions within her artwork. Experiment with this idea by filling moulds with a range of different materials to create small sculptural forms. Use silicone moulds that are shaped to represent something of high value i.e. a star or crown. Fill the mould with something everyday, such as pencil sharpenings or food ingredients mixed into gelatin or clear wax. Once set, release from the mould to reveal, for example, a crown made from a sandwich, or a star made of pasta etc.

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Further discussion: What does it mean to use a found object (that already exists / has been made by someone else) in contrast to an artwork that has been made directly by the artist? Does this change how we view the artwork? Does this affect how we view the artist’s process?

LINKS TO OTHER CURRICULUM AREAS PSHE Discuss objects you own that are precious to you and hold value. Is this monetary value or sentimental value? Does your object hold value to other people? What makes an object special? GEOGRAPHY Think about the impact humans are having on the planet through the amount of waste we produce. What effect is this having on our ecosystems and marine life? Discuss the climate emergency, water pollution, f ly tipping, deforestation etc.

What do you feel is more valuable, the process of making an artwork, or the ideas and concepts behind it?

ROSE FINN-KELCEY: GOD’S BOG

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ROSE FINN-KELCEY: GOD’S BOG

AMALIA PICA CATACHRESIS #40 (TEETH OF THE RAKE, LEG OF THE CHAIR, LEG OF THE TABLE, HEAD OF THE SCREW), 2013 Found materials 147.5 x 60 x 60cm

AMALIA PICA CATACHRESIS #40, (TEETH OF THE RAKE, LEG OF THE CHAIR, LEG OF THE TABLE, HEAD OF THE SCREW), 2013 ‘An object that has no name—that, in a way, escapes language— by invoking something entirely unrelated. Hence, we get phrases like “leg of the chair” or “neck of the bottle” which attach human qualities to inanimate things.’ 15 Catachresis #40 is made from parts of found objects that have no real name of their own, but which have taken on the name of body parts: teeth of the rake, leg of the chair, leg of the table, head of the screw. The result is an amalgamation of objects which appears absurd, bewildering and complex. Amalia Pica is interested in how art can be used as a form of communication and whether ‘images can act as language’. Catachresis

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#40 is part of a series of sculptures which the artist began in 2011. The word ‘catachresis’ stems from the Greek word for ‘abuse’ and refers to a semantic misuse or error, where a word or phrase is used out of context and not for its intended meaning. Her work explores metaphors and highlights how we anthropomorphize inanimate objects. Pica grew up in Argentina during the time of the ‘Dirty War’, and

the impact of this experience inf luenced her work. She explores the manipulation of language and how it is employed for social and political gain. Her work explores how representation and communication can take on wildly different meanings depending on the context. Pica’s sculptures become new tools for communication and take on identities of their own. She has, in a sense, created her own ‘sculptural language,’ which conveys her ideas and thoughts about the world.

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AMALIA PICA: CATACHRESIS #40

ENQUIRY QUESTIONS Use questions from the ‘How to Read an Artwork’ section to make your initial enquiries, then move on to the prompts below: What do you think this object might be? If this sculpture were a machine, what job do you think it would do? ‘Catachresis’ is a ﬁgure of speech used to describe the misuse of a word or phrase. Why do you think the artist has chosen to give it this name? What name would you give this sculpture? What do you think is meant by the term ‘sculptural language’?

How does its presentation within the context of the gallery affect this? Why might it be important for the methods of making art to evolve? Consider whether the meaning of an artwork is more or less important than its appearance. Does this sculpture challenge your ideas of what an artwork can be? If so, how? Should art always be beautiful? Why? What is the purpose of art?

This artwork is made from found objects. What transforms an ‘everyday’ or ‘found’ object into an artwork?

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AMALIA PICA: CATACHRESIS #40

ACTIVITIES INITIAL ACTIVITIES KS2 KS3

2D FOUND OBJECT ARTWORK KS1 KS2

Discuss how the artist has used the names of human body parts in the title of her work. Think of other objects that include the names of human body parts. Create a poem or story using personiﬁcation to give human characteristics to everyday items.

Using images from magazines and furniture catalogues, create a collage of a found object sculpture. Cut out four or five different objects and find imaginative ways to stick them together, creating your own design for a sculpture. Give your artwork an interesting name inspired by Amalia Pica’s work.

Explore the shapes and forms of the sculpture by making a continuous line drawing – keep your pencil on the page whilst drawing. Repeat several times with different time limits (five seconds, twenty seconds, one minute). Draw the sculpture quickly and f luidly, reducing it to a series of lines. How few marks can you make to portray the sculpture? At the gallery: move around the sculpture and draw it from different viewpoints. Discuss if the sculpture looks similar or different from varying viewpoints.

Arrange different objects (toys, stationary, coins etc.) together underneath a piece of plain paper, ensuring that they all touch as if joined as one. Use a pencil or crayon to create a rubbing of your found objects. FOUND OBJECT SCULPTURE KS1 KS2 KS3 KS4 Collect a range of items or recyclable objects to make your own found object sculpture.

In school: create a found object sculpture, place it in the centre of the room and draw it from different viewpoints.

Once complete, sketch, photograph and name your sculpture. Think about how you would develop your sculpture, could it be part of a series, and what would you do differently next time? Host an

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exhibition of your sculptures for parents and other classes to view in your hall or outside in the school grounds. Create a collaborative, large-scale sculpture with tables, chairs, brushes, boxes, mops etc. in the classroom or outdoors. Think about scale, the relationship to your body, and how it is viewed from all angles.

LINKS TO OTHER CURRICULUM AREAS GEOGRAPHY Learn about the importance of recycling and the detrimental impact of plastic pollution. Find out about local charities that focus on recycling and preserving nature and find a way to support them.

Find three objects from home and use them to make as many different sculptures as you can. Photograph each one in turn to reveal how your creative process evolves. Display the photographs in order to examine the journey of your artistic process. What do you notice? Pass on your sculpture to a friend and ask them to add something new. How has the sculpture changed? Create your own ‘sculptural language’. Think about what this term means to you. It could focus on materials, colours, shapes, forms, concepts or scale. Consider and compare the work of Phyllida Barlow, Barbara Hepworth and Eva Rothschild. What defines each of their ‘sculptural languages’?

AMALIA PICA: CATACHRESIS #40

BREAKING THE MOULD

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AMALIA PICA: CATACHRESIS #40

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BREAKING THE MOULD

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REFERENCES 1

Natalie Rudd, Breaking the Mould: Sculpture by Women Since 1945. Hayward Publishing (2020) p.9.

http://www.galerie-herrmann. com/arts/douglas/Showboat.htm (accessed 15.11.20).

Art, Exhibition and Sculpture – Graphic Arts Today: https://www.graphicartstoday.com /?query=jann%20haworth&openarticle-id=11841757&articletitle=sculptures-by-americanpop-artist-jann-haworthreveal-a-childhood-spent-onfilm-sets-in-hollywood&blogdomain=creativeboom. com&blog-title=creative-boom (accessed 09.01.21).

Interview with Jann Haworth in ‘Still Swinging After all These Years?’ TATE ETC., No 1, Summer 2004, referenced in issuu.com/ bloomsburypublishing/docs/iconic_ design_sampler (accessed 10.10.20).

_Floorr https://www.floorrmagazine.com/ issue-10/holly-hendry (accessed 21.11.20). 4

https://annekafrench.wordpress. com/2017/03/06/a-qa-with-hollyhendry-sculptor-and-rising-star/ (accessed 21.11.20). 5

Yorkshire Sculpture Park Instagram IGTV channel @yspsculpture. (accessed 23.09.20).

Virginia Whiles, ‘Unstable Ground’, Art Monthly, no. 396, May 2016, pp.1–5 9

Conversation between Natalie Rudd, Senior Curator at Arts Council Collection, and Wendy Taylor, 1 October 2019.

http://www.wendytaylorsculpture. co.uk/about/ (accessed 09.01.21).

http://www.artscouncilcollection. org.uk/artwork/untitled-6-spaces (accessed 07.02.21).

https://gagosian.com/artists/ rachel-whiteread/ (accessed on 07.02.21). 13

https://www.theguardian.com/ artanddesign/2014/feb/24/rosefinn-kelcey (accessed 07.02.21). 14

https://en.wikipedia.org/wiki/ Amalia_Pica (accessed 14.02.21).

Jann Haworth Calendula’s Cloak, 1967. Arts Council Collection, Southbank Centre, London © the artist Cornelia Parker Fleeting Monument, 1985. Arts Council Collection, Southbank Centre, London © the artist Grace Schwindt Position, 2018. Arts Council Collection, Southbank Centre, London © the artist Sarah Lucas, NUD CYCLADIC 7, 2010. Arts Council Collection, Southbank Centre, London © the artist. Purchased with the assistance of the Art Fund Barbara Hepworth, Icon, 1957. Arts Council Collection, Southbank Centre, London © Bowness Holly Hendry, Gut Feelings (Stromatolith), 2016. Arts Council Collection, Southbank Centre, London © the artist

Sokari Douglas-Camp, Alali Aru Festival Boat with Masquerader, 1986. © the artist Rana Begum, No.429 SFold, 2013. Arts Council Collection, Southbank Centre, London © the artist Mona Hatoum, + and -, 1994. Arts Council Collection, Southbank Centre, London © Mona Hatoum. All Rights Reserved, DACS 2021. Wendy Taylor, Inversion, 1970. Arts Council Collection, Southbank Centre, London © the artist Rachel Whiteread, Untitled (6 Spaces), 1994. Arts Council Collection, Southbank Centre, London © the artist Rose Finn-Kelcey, God’s Bog, 2001. Arts Council Collection, Southbank Centre, London © Estate of Rose Finn-Kelcey Amalia Pica, Catachresis #40 (teeth of the rake, leg of the chair, leg of the table, head of the screw), 2013. Arts Council Collection, Southbank Centre, London © the artist

Sokari Douglas Camp, Audience (from Showboat, Alali Aru installation) 1986. Arts Council Collection, Southbank Centre, London © the artist

https://sokaridouglascamp. wordpress.com/2018/04/03/thejourney-begins/ (video accessed 21.02.21).

BREAKING THE MOULD

FULL CREDIT LINES FOR ARTWORK IMAGES, IN ORDER OF APPEARANCE:

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ACKNOWLEDGEMENTS This resource has been written and compiled by Kathryn Brame, Freelance Arts Educator, and Laura Carter, Freelance Arts Educator. Very many thanks to Kathryn and Laura, and to all of the families who took part in the practical making sessions. The Arts Council Collection values your feedback on the exhibition and this education pack. We would love to hear about, and to see, how you have explored the exhibition with your groups. Please share images and ideas using #breakingthemould @A_C_Collection @artscouncilcollection Arts Council Collection #breakingthemould #artscouncilcollection www.artscouncilcollection.org.uk

BREAKING THE MOULD

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Breaking the Mould Education Pack

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Breaking the Mould Education Pack