Julian Opie Summer, 2012 ©Julian Opie
20 SEPTEMBER - 13 DECEMBER 2014
GALLERY RESOURCE & ACTIVITY PACK
CONTENTS
INTRODUCTION
01 Introduction
Walk On is the first exhibition
02 Themes of exhibition in each Venue
to examine the astonishingly
03 Artists in each Venue
varied ways in which artists since
04 Julian Opie & Richard Long
the 1960s have undertaken a
06 walkwalk & plan b
seemingly universal act – that of
08 Tim Knowles & Wrights and Sights
taking a walk – as their means to
10 Sarah Cullen & Rachael Clewlow 12
Janet Cardiff
create new types of art. Janet Cardiff: Münster Walk, 1997 ©Janet Cardiff
The exhibition offers an as-yet-unwritten history of recent art practice. It proposes that, across all four of the last decades, artists have worked as kinds of explorers, whether making their mark on rural wildernesses or acting as urban expeditionaries. It argues that from land art to conceptual art, and from street photography to the essay-film, much of the important art of our time has been created through an act of walking. This exhibition brings together nearly 40 artists who all make work by undertaking a journey on foot. In doing so, they all stake out new artistic territory. They do so whether using the city street as their studio, or the landscape as their natural habitat.
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Artists such as Richard Long have crossed countries and continents to create works, leaving traces of their movements on the land itself. Some walking artists only exhibit documents from their journeys, whether photographs, texts or artefacts. For them, the walk undertaken is itself the artwork – as a kind of performance over time – and anything else produced by the artist is seen as only evidence or documentation.
Map & Exhibition Opening Times
Others have walked on historic sites, as Marina Abramović did - undertaking an epic journey across the length of the Great Wall of China, in a symbolic act of meeting and separation with her then collaborator Ulay. The exhibition includes several internationally celebrated artists alongside emerging figures who have created new works for the project.
Suggested activities The venues have worked together to write a series of activities suitable for different age groups. These activities can be followed exactly or adapted to suit your needs.
Key
Key Stage 1 & 2 (4 - 11 years)
Key Stage 3 & 4 (11 - 16 years)
Further/Higher Ed (16+ years)
This symbol identifies a connection between two artists works. In the exhibition, there are a number of links made between artists practices so here we encourage you to explore these links further.
Suggestions for alternative types of walks you could take through the city with your group. Perhaps you could use these suggestions to move between the venues. These walks are aimed at Key stage 1-4.
This exhibition is being brought to Plymouth thanks to a partnership between Peninsula Arts, Plymouth University; Plymouth Arts Centre; Plymouth City Museum and Art Gallery and The Gallery at Plymouth College of Art. Walk On has been developed in partnership with Art Circuit Touring Exhibitions and WALK (Walking, Art, Landskip and Knowledge) at the University of Sunderland, and in association with VARC (Visual Arts in Rural Communities). The exhibition is curated by Cynthia Morrison-Bell and artist Mike Collier of WALK in partnership with Alistair Robinson, Curator, NGCA (Northern Gallery for Contemporary Art), and supported by Arts Council England. Sarah Cullen The City as written by the City, Out and about Florence with Muma, 2005 © Sarah Cullen
This pack has been produced collaboratively by all venues presenting Walk On and designed by Steven Prior (Plymouth College of Art).
Gallery Resource & Activity Pack
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THEMES OF EXHIBITION IN EACH VENUE Plymouth Arts Centre
The Gallery at Plymouth College of Art
In the selection of works at Plymouth Arts Centre there is a strong sense that we are not on our own. Following strangers, walking with others, collaboration, coordinated manoeuvres and public participation, are the processes involved in making these works. Couples, duos, regiments and members of the public take to the streets, many of them captured by the omnipresent CCTV camera, others sending signals about their position to recording stations in the sky. Several of the artists shown here directly employ this technology whilst others mimic it, together these films, etchings and works on paper highlight an increasing acceptance that all of our movements are tracked and traced, ensuring that we’ll never walk alone.
The works that feature in The Gallery at Plymouth College of Art pull on ideas of great endeavors; failed tasks to understand and ‘grapple’ with great landscapes and urban environments; attempts to move freely and safely through landscape; maneuvers through places assisted or impeded with the aid of devices and with a great sense of play, courage and defiance.
Plymouth City Museum and Art Gallery The exhibition at PCMAG takes a historical approach, with a strong focus on the work of Richard Long and Hamish Fulton and their influence. Walking has always been central to Long’s practice and for Fulton, walking is his practice; “no walk, no work” is his statement of intent. Experience and representation of landscape and our relationship to the natural world are the principal lines of enquiry in our selection. Dialogues and connections between the works, intentional or accidental, occur. A number of the key themes of the wider Walk On exhibition, such as documentation, mapping, exploration and observation of others, are also introduced here.
Peninsula Arts Experimentation, extremes and the testing of existing boundaries of knowledge and understanding perhaps unite the artists in the Peninsula Arts Gallery. Bruce Nauman pushes the perimeters of the human body through a durational performance, whilst Marina Abramovic undertakes a mammoth walk along the Great Wall of China to symbolically finalise the end of a relationship with her then partner and collaborator. Other artists present different ways of considering walks, such as Sarah Cullen’s ‘anti-maps’ and Melanie Manchot’s protest marches. We are delighted to be showing the work of Jem Southam, an internationally renowned landscape photographer and Professor of Photography at Plymouth University. For the Walk On exhibition Jem Southam has made a collaborative work, bringing together pictures and texts as fragments of a shared set of experiences, drawn from a series of walks along the South West coast of Cornwall.
ARTISTS IN EACH VENUE
Plymouth City Museum and Art Gallery
Peninsula Arts
Plymouth Arts Centre:
The Gallery at Plymouth College of Art
Richard Long Richard Wentworth Julian Opie Mike Collier Hamish Fulton Chris Drury James Hugonin Atul Bhalla Carey Young Simon Pope Tim Robinson Ingrid Pollard Alec Finlay Sophie Calle Janet Cardiff Tim Knowles Bryndis Snaebjörnsdóttir & Mark Wilson
Jem Southam Bruce Nauman Marina Abramović Rachael Clewlow Sarah Cullen Janet Cardiff Brendan Stuart Burns Melanie Manchot
Plan b Pat Naldi and Wendy Kirkup Bradley Davies Francis Alys Janet Cardiff walkwalkwalk Jeremy Wood Melanie Manchot
Dan Holdsworth Tim Knowles Rachel Reupke Catherine Yass Tracy Hanna Wrights and Sites Janet Cardiff Brian Thompson Tim Brennan
walkwalkwalk From WALK Finds 2005-2010 ©walkwalkwalk Richard Long A Line in the Himalayas, 1975 photo © Tate, London 2013
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Presented by the artists 2005 © Richard Long DACS all rights reserved 2013
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JULIAN OPIE
RICHARD LONG
About Julian Opie Julian Opie’s artwork Summer was made by the artist in France, on a circular walk with his son, in which the artist took a photograph each time his son took twenty paces forward. The landscape is ever-changing, but it might be described as what ‘a walk in the park’ looks like, though crucially, not what it feels like.
About Richard Long Richard Long has always worked outside the gallery to create works by walking, leaving marks and traces on the landscape. Long’s materials include those found whilst walking across remote parts of the world and those from the River Avon near where he lives. His work is made through the relationship he develops with a place and his physical involvement with that place.
Opie strips the image of all particularities, creating a ‘non-place’, a universalised parkland that could be found almost anywhere in Europe. By removing the details from the landscape, Opie allows each of us to tie our own mental images to it. The video work, however, deliberately denies us the ‘feeling’ of being in the ‘great outdoors’. The traditional pleasures offered by a walk, such as identifying particular flora and fauna, of scanning the landscape for unexpected details, or the evocation of changing weather states are all removed.
After looking at Julian Opie’s simplified landscape get your class to make some outline drawings of their surroundings. For each child, tape a sheet of either acetate or tracing paper to a window and ask them to draw the outlines of trees, buildings and fences which they can see through it with a marker pen. Alternatively, print photos from a walk around your school playground and lay acetate or tracing paper on top of these to draw on. Next the children can either paint or collage on them with tissue paper and PVA. When the paint/PVA has dried turn the pictures over for an instant Julian Opie style picture.
Tip! Paint or collage in reverse eg. paint/ collage white clouds first then blue sky over the top.
Artist connection: James Hugonin - find at PCMAG Walking activity: 20 Paces - try walking in a straight line for twenty paces then change direction. Keep changing direction every twenty paces until you reach your destination. Is there anything that stops you from walking straight? Have you had to climb over something or go around something that was in the way?
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Impressions of nature in salt dough
Julian Opie Summer, 2012 ©Julian Opie
Create a moving image with a flip book
Ask your group to take a walk in the landscape, this can be on the moors or in the city. After every 20 steps ask the students to draw the landscape in front of them. Collect these drawn images over a 2 minute walk to create a flip book.
After looking at Richard Long’s work have a go at making a large scale sculpture in your school. Start by taking the class for a walk around the school and look for things you could make a temporary sculpture with. Richard Long sometimes uses big sticks and stones but you could use leaves, pencils, or even books. When you have decided on the material you’ll use, decide where it will go -in the playground? -in the school hall? Ask each child to draw a design for the sculpture then vote for everybody’s favourite and work together to collect everything you need. Try to create your sculpture by just placing the materials on the floor rather than sticking them down.
Share! We would love to see pictures of your Richard Long style sculpture. Why not email or tweet us your drawings and photographs: museum@plymouth.gov.uk
Using the work of Julian Opie as a starting point, work with your group to create ‘non-places’. Ask your group to choose and take a photograph of a ‘familiar’ view of the city. The views should be generic in nature so that people living outside of the city could also connect with the image. Using a selected process/medium, strip the photograph of all detail, to create a new interpretation of that place. You could choose to use digital processes (such as photoshop, animation, video), screenprinting, collage, drawing, painting or any medium of your choice.
Ask your group to go on a walk in their locality and select a location to create a temporary intervention, that is sensitive and responds to that site. Individuals should use materials found in the area (natural, or manmade) to create their creative response to that place, but must ensure that they leave no destructive trace of their action. Ask your group to photograph their work and to bring these images back into the studio to share and discuss with the rest of the group.
• Make your own hanging decoration using salt dough. • Using the instructions below ask your students to take a walk around the school to collect leaves, twigs and seeds to press into pieces of flattened salt dough. • Make sure that you make a hole at the top to hang your creation before you put it in the oven or microwave to bake. • Alternatively, you can try this activity with airdrying clay. Ingredients 1/2 cup of salt 1/2 cup of water 1 cup of flour How to make the salt dough Add the 1/2 cup of salt and 1 cup of flour to a bowl stir in the water adding it slowly – you may not need all of the water. You will need the dough to be dry and if it gets sticky add more flour. Knead the dough and then roll out flattened pieces to use. Traditionally salt dough is dried in the oven which takes around 3 hours at a low heat so they do not burn. Alternatively you can place the dough in the microwave and for 3 – 5 minutes. Leave to cool down and paint.
Artist connection: carey young & Hamish Fulton - find at PCMAG Walking activity: Follow the leader - Choose somebody that is not a teacher to lead the whole group in single file for some of your walk.
Ask your group to think about what key elements are important to keep in the image so that viewers are still able to connect with that place.
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WALKWALKWALK About walkwalkwalk The collaborative project ‘walkwalkwalk’ is made up of three artists, Burton, Korda and Qualman. Together, they make participatory events, where the act of walking alongside the exploration of urban environments is key.
PLAN B
The trio have systematically mapped their walking routes around the eastern parts of London, sharing information about how they have each navigated the city. The artists compare the city to a ‘text’ that they can read and through their walks aim to reconsider the narratives of the pathways they tread.
They collect and research artefacts, anecdotes, images and sounds on their journeys and create and present text works and found objects collected on their walks.
Listen while you walk Ask your class to collect objects that describe the places they pass on their way to school, around the playground or perhaps on a school trip. In pairs they can take it turns to ask questions about where they found them and why they chose them. Get the children to pass the objects around the table and think of describing words for each object. Next play a Kim’s Game with the objects: cover them up with a paper tablecloth and see how many objects the children can remember. Now use the objects as painting tools to make a large group painting of their describing words on the tablecloth. Safety first! Make sure an adult is with the children when they are picking things up so that they only pick up safe objects.
• Organise your group into pairs • Using a piece of fabric, ask one of the pair to blind fold their partner. • Taking a walk in the land or cityscape, ask the blindfolded student to listen very carefully as their partner walks them around. • At the end of the journey, ask the students to swap places and to repeat the exact same walk. • At the end of both journeys ask the students to compare their experiences and the sounds that they heard.
Bringing the material collected back into the studio (again working individually or in small groups) ask your group to produce posters inspired by the things they have discovered.
• make a list of the different objects you see on the streets whilst walking
Temporarily install the posters in a city centre location and take a photograph documenting this. Remove the posters and bring them back to the studio for display.
• Record and collect snapshots of the ‘noises’ heard whilst walking, (conversations, music etc) written or make sound recordings for transcription later.
They are amongst the leading figures to engage with GPS technologies since their widespread availability over the last decade or more. Their practice is based on both walking and on collecting data. Rogers has tracked every single one of his journeys for a whole decade and New has done the same since 2007. They have previously exhibited an entire year’s worth of their journeys/walks, making every action they take public knowledge. As viewers we become aware of the personal lives and habits of the artists, which raise ethical questions of the availability of information about such a seemingly simple action as walking. If this data can be recorded and monitored by an artist, perhaps it can also easily be accessed (and misused) by the technology providers who create the devices used to record the data? Most recently, plan b have engraved a whole year’s worth of GPS data onto a transparent acrylic sheet. The journeys that they routinely or repeatedly undertake are ‘dug’ out of the material in an almost archaeological manner.
You could also consider ideas of mapping the journeys through the stuff collected. Plotting on a map the locations of your findings. Or find interesting ways to store and present the items collected on the journey and make an archive of your walk.
Ask each child to make a drawing of their route in the style of plan b’s work. Take the group for a ‘follow the leader’ walk around the playground and try to remember the route collectively on the whiteboard or ask the children to draw their way to school that morning. If the children draw on tracing or tissue paper you could layer them up to create a plan b style drawing of multiple walks. Art Attack! How about making a giant map by getting each child to draw their route in chalk on the playground or using masking tape on the floor of the school hall?
Artist connection: Jeremy Wood find at PAC and Mike Collier find at PCMAG
Artist connection: Alec Finlay & Mike Collier - find at PCMAG
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Walking activity: Poetry or Story Walk - For every step you take on a walk say a word to make a poem or story about where you are walking and what you can see or hear. Can you remember the whole poem or story when you get to the end?
‘All My Journeys in Berlin 2003-2013, Daniel Belasco Rogers’ (c) plan b 2014
Plymouth Street Signs
• Ask your group to find a street sign beginning with every letter of their name.
• Each student can recreate the walk in their notebooks by creating a mind map listing the sounds they heard.
Ask your group to go on a walk into the city. Working individually or in small groups, ask your group to collect (using notebooks and a camera) the following whilst on their walk:
• collect different fragments of ‘text’ you see on your journey (this could include, but is not limited to, text from signs, billboards, posters etc)
About plan b plan b is the name that Sophia New and Daniel Belasco Rogers take when working collaboratively as artists.
Walking activity: GPS Tracing - if you have a smart phone or can borrow one from a friend, use a map app to follow the route you take on a walk. You could even post photos on the map of things you see.
• Using a map of Plymouth City Centre ask the group to draw their journey onto the map. • When the group arrive at each street sign, take a photo of the sign as a way of recording the journey.
Ask your group to track their daily journeys for one week. Individuals can record each day’s journeys by drawing their routes over photocopied maps of the area they travel within. Once this task has been completed, ask each group member to trace each route to create a combined, layered diagram of all of the journeys they have taken (with each days walk layered over each other). The diagram can be produced using any appropriate technique/medium and the final creative outcome could be produced as a poster, digital interface, print, drawing, painting etc
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TIM KNOWLES About Tim Knowles: Tim Knowles creates photographs, films and abstract drawings by undertaking walks. Knowles’s working methods are playful and inventive, making use of chance in innumerable ways, ensuring that the outcome of each walk is unknown in advance. He uses systems, processes and apparatus
WRIGHTS & SITES
that generate outcomes, which the artist is not in control of. In his series of works titled ‘Windwalks’, Knowles creates a device that found the direction of wind in the environment, and directed the user to follow it. The results were both filmed and plotted on GPS as drawings. The
outcomes reveal that the walker took a meandering, seemingly uncontrollable route, determined by the ways in which wind moves through London’s streets. The work is both poetic and funny, and reveals glimpses of the structure of a city and the relationship between a man-made environment and the natural elements.
About Wrights & Sites: Wrights & Sites are a group of artists and researchers interested in walking through cities and in what they call “serious play”. The group was founded in 1997 by Stephen Hodge, Simon Persighetti, Phil Smith and Cathy Turner.
They create ‘mis-guides’ to places that offer new or unexpected insights in ways that orthodox travel guides cannot. In 2006, having made guides for particular locations, they decided to create a universal version, that could be taken anywhere and applied to any city.
The ‘Mis-guide to Anywhere’ playfully encourages users to explore their everyday differently, to discover new ways of looking at a place and to take unfamiliar routes, or to travel in unusual ways. A copy of this work can be borrowed from the Gallery reception at Plymouth College of Art
'ANYWHERE'
HOMETOWN Return to your hometown. Perhaps with a childhood friend. Or, if you have one, your own child. Visit old haunts: houses, streets, schools, playgrounds, secret dens. Retrace old walks. Then return to the city where you now live. Use your hometown experience to discover new ways of walking the city. New places to hang out in.
Walk on a string
PLACE/ 80
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NON-PLACE
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Ask your group to create a walk using chance. • Photocopy and enlarge a map of your local area. • Using a piece of thread, drop the thread onto the map and following the path.
According to Marc Augé, some places are 'non-places'. We pass through these non-places like ships passing in the night; we don’t communicate; we don’t become attached. They are the places of 'supermodernity' and they include: motorways, airports, theme parks, anonymous hotels, shopping malls, department stores and tourist spaces. Make a non-place into a place. Look for the particular that marks this space as lived. Chat to someone who works here. Discover a landmark view. Site-see any spots where a media event has occured. Find something very old. Discover reminders of home. Arrange to meet a friend. Take them on a tour.
'Anywhere' is a hopeful place camouflaged by a mistake. It's time for ‘anywhere’ to stop apologising. Even if it does have grandiose ideas and makes sweeping statements occasionally, it knows it should pitch its tent cautiously, in a flashflood. It's not 'everywhere' - it doesn't have to impose itself, even dreamily. General and just here. Find 'anywhere' and you know how what's around you links to 'anywhere' else. You have to be a philosopher and a mechanic, by the way. You can find 'anywhere' any where. Any where will be different from any other where. In one place one of these pages might be met with stones, in another indifference, in another the offer of shade. 'Anywhere' could be in any of these places. A utopia that almost exists, wherever you are. It has no flag, borders, position on debt repayment, currency, affiliation, loyalty card, id number, passports, fixed ground, initiation rite, level playing field, 'ochie', tags, logo, not yet. Get it while it lasts. Actually all these things - flags, borders, etc. - they flow through 'anywhere' like ghost ships, to be gathered up like homing pigeons. 'Anywhere' is a meeting of trajectories - of lives, magma, architectures and demolitions, swarms, floods, extended organisms, memes… It may be on Main Street, High Street, mall, bazaar, souk, standing on the ruins of a downtown slum; sucked dry, stripped of distinguishing features, smoothed to speed the passage of capital and heritage... On green hills, swamp, oasis or tractor track, wasteland, farmland, ocean, bed, ocean bed, cloud castle, underground tunnel. 'Anywhere' is where war criminals go when they lose power; why should they be so lucky? 'Anywhere' longs. It doesn’t even almost exist until you move. I like that.
Evolving sights and sounds
Play a walking game of chance in the playground or hall. Write down some different types of walking on paper eg. quickly, elephant steps, hopping, on hands and feet, sideways. Cut them up and put them into a bag then get the class to try each type of walking when pulled at random from the bag. Afterwards discuss the game as a group: who was the best at hopping? which walk was the silliest? why don’t we walk on our hands and feet all the time? You could also get the children to have a go at writing limericks and taking photos of each other walking in one of the ways in the game.
Artist connection: Sarah Cullen - find at Peninsula Arts Gallery Walking activity: Penny Walk - take a coin on a walk and every time you reach a junction flip the coin to decide whether you’ll go left or right. 8
Gallery Resource & Activity Pack
Ask your group to individually, or in small groups, develop rule based systems that describe a walk that they are “not in control of”. Such methods might include: • throwing dice to decide route decisions at key points, IE 6 = turn left. • write a set of instructions (left, right, turn around etc), cut them up and place the instructions in a bag, shake the bag up and pull out an instruction one by one to decide the route. • number each person in your group (1-30 etc) and ask them (in secret) to write down one directional instruction each (left, right, turn around etc). At random call out a number from the list and ask that person to shout out their instruction to decide the route. Send your group on their chance led walks, asking them to pay attention to the moments where they are unable to continue on their journey. Document each walk. Discuss the experience of going on the walks together and ask your group to make a creative response inspired by the experience.
As a whole class talk about different ways of walking and different types of places that you can go walking. Create your own game of pairs e.g. ‘paddling’ & ‘a beach’ or ‘walking uphill’ & ‘a mountain’. What happens when you mix them up? Get the class to draw pictures or write imaginary stories using the mixed up pairs as a starting point.
• Ask your group to go on a short walk. • Repeat the same walk several times. • Each time they do the walk, record all the sights and sounds they come across in a notebook. You may find that you notice lots of different sights and sounds each time the journey is taken. • By the end of their final walk, discuss how the same journey repeated can differ in so many ways.
Working in small groups and using the ‘Misguide to Anywhere’ book as inspiration, ask your group to create their own alternative guided tours/misguides to the city, which encourage the user to explore a place in a new and unusual way. Once created, test the ‘mis-guides’ produced by using them to go on walks. Together discuss the experience of navigating the city using the guides.
Artist connection: Janet Cardiff find at all venues or Bryndis Snaebjornsdottir & Mark Wilson - find at PCMAG Walking activity: Tour Guide - Elect someone that’s not a teacher to be the tour guide and tell you stories about the places you pass on your walk. They could even make some stories up and ask the group at the end if they knew which ones weren’t true.
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SARAH CULLEN About Sarah Cullen: Sarah Cullen creates alternative methods of mapping space using low-tech machines and devices of her own invention. Cullen created a ‘drawing box’ consisting of a pencil pendulum that is able to record her movement in space in
RACHAEL CLEWLOW
equivalent strokes of graphite on paper when carried around on a walk. The resulting drawings bear traces of her presence and motion. Each of us moves through space with a highly particular and identifiable walk, it is
a marker of the way we have learnt to occupy the world. Cullen asks us to re-think how we can document the ways in which we have ‘become ourselves’, in motion rather than at rest.
About Rachael Clewlow Rachael Clewlow meticulously records the ways in which she inhabits the city she lives in; the routes she takes, the times and dates of her travels and the methods by which she moves from one place to another.
Clewlow records this information in a series of “statistical diaries” in which routes are “logged, through dedicated, almost ritualistic daily recordings”. Clewlow creates her own systems of translating the data she collects into abstract patterns of form and colour. The resulting
diaries are both exquisite objects in their own right and the source material for Clewlow’s pictures.
Track your body movements in sand Divide the class into groups and give each group a tupperware tub with a sheet of paper in the bottom. Squeeze a small amount of poster paint onto the paper and give each group a marble to put in the tub. Get the children to take it in turns carrying the tub around the classroom (without tipping the marble out) and see how the marble moves the paint around the paper. You could give each child a clean piece of paper so that they have a marble drawing each. Discuss what you can tell about the way each person walks by their marble painting. Are they all different?
• Taking inspiration from Sarah Cullen, devise a box with loose sand along the bottom. • Using various body movements, notice how the sand moves with you. What happens when you jump? Lean to the right or left? Move in a circular motion? Rachael Clewlow Notebooks, 2011-12 coutresy the artist
Keep a tree diary Using the work of Sarah Cullen as your inspiration and reference, ask your group to design and make their own ‘drawing box’. Drawing Boxes can be constructed simply using cardboard or other materials readily to hand, or could become elaborate structures. Individuals should design their boxes so that marks are produced through the act of ‘walking with the box’.
Artist connection: Tim Knowles - find at PCA
Your group should think about how they can create different types of marks through their choice of what ‘drawing tools’ they build into the box, for example: • pencils hung on strings from the inside lid of the box • pebbles covered in pigment rolling around the box
Ask individuals to think about how they will carry the boxes. Will they need help? To add straps? Once the drawing boxes have been created, ask your group to go on a walk that they would not normally take.
• balloons filled with liquid that are burst when pins are dropped into the box at certain points on the journey.
Walking activity: Texture Trail - Using paper and a wax crayon or pencil make rubbings of interesting textures you find on your walk. Can you remember what each rubbing was afterwards?
Get the class to keep diaries of all the things they do in one day e.g. got out of bed, put on my clothes, walked to the kitchen, ate my breakfast etc. Turn the diaries into drawings by choosing a symbol or picture for each action. For each time they walk somewhere in their diary get the children to draw a line either across, up or down, depending on if they walked on a flat surface, a slope or a set of steps. Compare the drawings in groups and talk about the different symbols and shapes made by the lines. Put everybody’s drawings together to create an unusual class portrait.
Taking inspiration from Rachel Clewlow, record the changing seasons in a tree. • Ask your group to pick a tree that they pass by everyday • Take a picture of the tree every day, every week or every month and see the changing differences in the colour of the leaves.
Using the work of Rachel Clewlow as a starting point, ask your group to consider how they inhabit the places they live and where they spend most of their time. With your group ask them to each develop a set of rules, which will instruct what information they will record about their lives within a single day - from waking up through to going to sleep. Together, discuss ideas of routine, ritual and pattern. Are we creatures of habit? and if so why? What do our routines reveal to other people?
Artist connection: Mike Collier - find at PCMAG Walking activity: Cartographer’s paces - Guess how many steps your walk will take then measure the distance in paces. If you have a pedometer or trundle wheel or could borrow one from a friend why not use it to measure too?
Using the information that they collect from their day of recording, ask individuals to translate their findings in any chosen medium. Come back together to present and discuss the work made. 10
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JANET CARDIFF About Janet Cardiff: For over twenty years Cardiff and her collaborator George Bures Miller have created guided audio works which are listened to whilst walking a prescribed route. Ordinarily these works are entirely site-specific (responding to a particular location, environment and situation).
VISITING INFORMATION:
‘The Walk Book’ presented in all of the gallery venues in Plymouth, is the only way in which its possible to experience Cardiff’s work without being in the cities they are made about/for.
Her work depends on the discrepancies between what we think we know, what we see, and what we are told. Characteristically, her narrators combine fictions with accurate descriptions of the actual landscape, so that the status of both fact and fiction are thrown into doubt.
Create a fictional walk
• Using a piece of A4 paper, fold up the paper to make a concertina.
How to book a visit
Facilities
Booking is essential for group visits to all venues: We want to ensure your group has the best experience possible at each of our galleries, so please remember to contact us first before organising your trip. Our galleries can get very busy from time to time so its best to avoid double bookings.
We are able to provide areas for you to eat your lunch in two of our venues but are unable to provide lunches or other facilities.
For enquiries for school/group visits, contact museumvisits@plymouth.gov.uk. Please have a range of possible dates available before contacting us, as it may not always be possible to offer you your first choice date.
Please remember to bring along sketchbooks and pencils for your visit, as wet materials, and also dusty materials will not be permitted in the exhibition galleries. If you have any questions regarding materials, please contact us using the email above. The ‘Walk On’ activity and resource guide is designed to allow you to run a self-led session with your students/ class and so there might not always be someone to meet you at each venue.
• Write down instructions for the group to answer, for example ‘Where are you walking from?’, ‘Where did you walk to?’ ‘What did you see?’ • Each member of the group completes an answer in order to complete the imaginary walk. Janet Cardiff Forest Walk, 1991
Use the internet to find some photographs of Cardiff Castle and the Millennium Stadium. Show the two photographs to the whole class then ask them to work in groups to write/tell a story about their imaginary walk from one location to the other. Come back together as a whole class to share the stories and tell each other how they made you feel. Just like Janet Cardiff you could get each group to record their story and take it in turns to listen to each one through headphones.
Note! You don’t have to tell the class that both places are in the same city!
Artist connection: Wrights & Sites - find at PCA
Walking activity: Blindfold Walk - Pair up with a friend and take it in turns to follow each other’s directions whilst wearing a blindfold. Don’t forget to tell each other to step over or around an obstacle if there is one! 12
Gallery Resource & Activity Pack
• Once all the questions have been answered, read out loud the journey to the group.
Using the work of Janet Cardiff as a starting point, with your group, work to produce a guided walk that plays with ideas of reality, fiction and narrative to change the way that participants might view their environment. The guided walks could be produced as books, audio guides or videos for walkers to follow
NB: Janet Cardiff’s work ‘Walk Book’ is being presented across all four venues. This book, alongside the artists website is an excellent resource for researching how your group might think about approaching their guided walk. Good examples on the artists website include ‘Alter Bahnhof Video Walk (2012)’ and ‘THE MISSING VOICE: CASE STUDY B (1999). Clips of these works and others can found on: cardiffmiller.com
Tim Knowles From Windwalks - Seven Walks for Seven Dials, 2009 - courtesy the artist
Gallery Resource & Activity Pack
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