Gerard Byrne Teachers' Resources

Teacher Resource Notes

Gerard Byrne 1/125 of a second

Mead Gallery Warwick Arts Centre, University of Warwick, Coventry, CV4 7AL Exhibition open Sat 16 Jan – Sat 12 Mar 2016 Mon – Sat 12 noon – 9 pm FREE ENTRY

The Mead Gallery is committed to increasing

This resource is designed to

understanding of, and engagement with, international contemporary art. Through our exhibition programme, we encourage young people

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help you with planning and preparing your class visit to the exhibition

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support you on your visit

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provide ideas for follow-up activities

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encourage cross-curricular work

to engage with key themes and ideas relating to the world they inhabit and offer opportunities for them to meet and work with artists. Every exhibition is supported by a programme of artist-led talks and discussions, workshops and other events. Details are available on our website: meadgallery.co.uk These notes are designed to support your visit to the Mead Gallery, including planning prior to your visit and suggestions for follow up discussion and

provide information about the artists and their work

encourage individual and collaborative creative work

activities. They are aimed at all key stages, enabling you to develop them to suit your needs and inspire discussion and practical work.

This and previous page: Biologiska Museet Š Gerard Byrne 2015

Contents

Introduction: 1/125 of a second …………..…………………………………………………………………………………………….

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About Gerard Byrne …………..……………………………………………………………………………………………………………….

Jielemeguvvie guvvie sjisjnjeli - Film inside an Image …………………………………………………………...…………... … And Other Works A Brief History of Photography ……………………………………...…………………………………………………...…….……...

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Links to the curriculum for KS2 and KS3 ...........................................................................................

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Knowledge and Understanding …………………………………………………………………………………..…...…………...

Questions, Discussions and Activities to Explore for both KS2 and KS3 Exploring and Developing Ideas ……………………………………………………………………………………………………..

Follow Up Activities - KS2 and KS3 How to turn a smartphone into a pin-hole camera …………………………………………………………………………

And how to make a camera obscura

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Further Links ………………………………………………………………………………………………………………………………….

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Planning a Visit to the Mead Gallery ………………………………………………………………………………………………

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Risk Assessments ……………………………………………………………………..……………………………………………………

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Introduction 1/125 of a second

1/125 of a second is a major new exhibition of work by the Irish artist Gerard Byrne.

This exhibition features a selection of the artist’s most acclaimed photographic and film works of the past fifteen years alongside the world-premiere of a film made in, and about, the Biologiska Museet (Biological Museum) in Stockholm—the first natural history museum to use a largescale diorama. This film was made by the artist in 2015-16 and was commissioned by the Mead Gallery with Monash University Museum of Art, Melbourne, and Moderna Museet, Stockholm.

The new work is titled Jielemeguvvie guvvie sjisjnjeli from the disappearing Nordic language of Southern Sami – that of the native peoples depicted in the museum diorama. Jielemeguvvie guvvie sjisjnjeli is the closest translation available in Southern Sami of Film inside an Image. Based on arctic nature and the nomadic life, no equivalent word apparently exists for ‘film’ in this ancient language. Here therefore we have, approximately, ‘Life within an image ’.

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About Gerard Byrne

Gerard Byrne was born in 1969 in Dublin, Ireland, where he lives and works. Selected solo exhibitions include: Kunstmuseum St. Gallen, St. Gallen (2014); The Whitechapel Gallery, London (2013); Fundação Calouste Gulbenkian, Lisbon (2012); IMMA, Dublin (2011); Milton Keynes Gallery (2011); The Renaissance Society, Chicago (2011); Lismore Castle Arts, Ireland (2010); The Common Guild, Glasgow (2010); Lisson Gallery, London (2009); ICA Boston (2008); Statens Museum for Kunst, Copenhagen (2008); Dusseldorf Kunstverein (2007); Contemporary Art Centre, Vilnius (2007); MUMOK, Vienna (2006); BAK, Utrecht (2004); Frankfurter Kunstverein (2003). In 2007 he represented Ireland at the 52nd Venice Biennale. He has also participated in dOCUMENTA 13, Kassel (2012): Performa, New York (2011); the 54th Venice Biennale (2011); Auckland Biennial (2010); Gwangju Biennial (2008); Sydney Biennial (2008); Lyon Biennial (2007); Tate Triennial (2006); and the Istanbul Biennale (2003).

Renowned for his film installations which re-enact past conversations, Gerard Byrne works with photography, video and live art to explore the way society understands the present through revisiting the past.

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Jielemeguvvie guvvie sjisjnjeli Film inside an image Jielemeguvvie guvvie sjisjnjeli, 2015-16 Built in 1893, the Biologiska Museet was the first natural history museum to use a large-scale diorama. The museum houses a 30 metre high 360-degree panoramic diorama of the Nordic landscape incorporating stuffed animals posed in frozen motion. It is entered via a double helix staircase and is lit almost exclusively by daylight. The 19th century diorama is often described as a precursor to photography and cinema. The Biologiska Museet enabled people to experience the fantasy of the Nordic wilderness within the confines of a city and at a time when photography and moving images were still in their infancy. In Jielemeguvvie guvvie sjisjnjeli - Film inside an image, the artist likens this museum to a camera, the panoramic image formed with light entering the aperture from without.

Presented as a single projection, this new film deploys a camera as its protagonist, inverting conventional relations of the photographic to make the camera no longer merely the producer of images but instead their inhabitant. The diorama may be seen to hover between the living and the dead. Here it is presented as a counterpoint to the trajectory of the photographic image, the dominant cultural form of the twentieth century. Byrne’s project stages a confrontation between the photographic and its antecedents, and in doing so raises questions as to what comes next.

Biologiska Museet, left c. 1900; right 2013.

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… And Other Works

1/125 of second also features the following works by Gerard Byrne: Subject, 2009 In this three-screen installation, a cast of actors play students of the 1960s at the University of Leeds – one of the most significant postwar European university campuses conceived in 1960 by the architects, Chamberlin, Powell and Bon. The script, derived from material acquired by the university library in the early 1960s, draws on sources that range from campus drug-use and sexual behaviour to Ted Hughes’ poetry. Presented at the Mead Gallery, situated at the heart of the University of Warwick campus – founded in 1965 – the film highlights the gulf that exists between the imagined future of the 1960s and the present reality.

New Sexual Lifestyles, 2002 This three-screen installation is a re-enactment of a debate between prominent figures of the sexual revolution which was published by Playboy in 1973. New Sexual Lifestyles, like Subject, simultaneously exposes cultural changes in attitudes towards sex, sexual freedom and gender politics since the 1960s and ‘70s and shows how many of these debates and concerns continue to occupy society decades later. Both works also appropriate the language of television. Several of the scenes in Subject are filmed in

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the campus studio and one of the subjects – a young woman – appears like a reporter, bearing a microphone. In both format and content, meanwhile, New Sexual Lifestyles is reminiscent of a late night TV discussion programme. The viewer is left disorientated, unable to say whether what they see is historical evidence or an artistic construct.

Whereas, in Subject, the film attempts to re-inhabit the architecture at the moment it was first envisioned and uses young actors with apparently ‘authentic’ northern accents, in New Sexual Lifestyles the disorientation of the viewer is increased as deliberate geographical and historical anachronisms are introduced. The participants have Irish rather than American accents and the actors seem ill at ease with the script. The debate is staged furthermore in a modernist summer house – a more glamorous location for a debate than might ordinarily be expected. As in all Byrne’s work, the context of the film is more than a mere backdrop to, or ‘location’ for, the action.

This building is situated in Enniskerry, Co. Wicklow in Ireland – a country in which Playboy was banned in the 1970s – and was designed in 1972 by the architects Scott Tallon Walker for the Irish art patron Basil Goulding. As filming in Leeds University suggested that the University’s Brutalist architecture had somehow shaped the students who had studied there, the use of Goulding’s house draws attention to the shift of cultural influence post war from

Kodak’s Wrattan Filter System (1912-2012), 2013 This is a photographic series mapping a century and the history of photography through overlapping coloured filters of different eras. Like Jielemeguvvie guvvie sjisjnjeli - Film inside an Image, this series directly relates imagery and the processes of its making to the time in which it is both made and is seen. The filter of history is here given tangible form.

Europe to North America.

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He searches for the contrary of saved, 2014 Gerard Byrne has, in earlier works, made the Irish playwright Samuel Beckett’s minimal stage designs and directions for Waiting for Godot the subject of both sculptures and photographs. In He searches for the contrary of saved, the sound of a voice narrates instructions to actors rehearsing for a French production of the play. These very specific instructions were written by Beckett into the script. Video footage of the dress rehearsal shuttles maniacally back and forth across the screen. The play is understood here as an artefact of 20th century civilization. The performers scrutinise and agonise over the script. Their rehearsal in turn is scrutinised by Byrne’s camera. The text, the performance and its documentation are presented as an irresolvable, indefinite loop.

Sporadically, the gallery experience is disrupted as a single film takes over all screens in the exhibition and theatrical lighting animates the space. Byrne reminds us that neither the significance of an artwork nor that of an exhibition are fixed at the time of their making but are instead in constant flux, we the viewers an integral part of their shifting meanings.

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A Brief History of Photography

Within the Mead Gallery can be found an area curated by the Coventry-based photographic artist and educator Jo Gane, which aims to shed light on how photographic processes have developed from the Camera Obscura to the present day, as well as to speculate on where photography may be headed in the future. It includes the following timeline of photographic processes: 5th Century BC

The first mention of the principles of the camera obscura can be traced back to writing in the fifth century BC.

16th Century

In the mid 16th Century the Camera Obscura device becomes smaller and more portable, with the addition of a lens creating sharper projected images. It is more popularly used as an artistic tool rather than for its previous astronomical purpose.

1792

Thomas Wedgewood publishes a paper on phosphorescence (a substance that emits light) and experiments in making shadow images or photograms (early photographs) using silver nitrate on various materials. However, he is unable to fix these images and they darken when exposed to light.

1822

Louis Daguerre and Charles Marie Bouton open the Paris Diorama which combines enormous painted sets with innovative theatrical lighting to engage visitors in realistic scenery.

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1826

Joseph Nicéphore Niépce creates a photographic image using an eight hour exposure with bitumen (a thick black substance most commonly associated with road surfaces) on pewter.

1839

Daguerre publishes the Daguerreotype photographic process in Paris, followed by Fox Talbot’s announcement of his rival process developed at Lacock Abbey in Wiltshire. Ironically Daguerre the showman, interested in imagery on a grand scale, invents a process which produces small, unique images which require intimate viewing whilst the more reserved Talbot devises a negative/positive process which makes images reproducible on a large scale.

1842

Sir John Herschel invents the Cyanotype process, producing images which yield an intense blue colour.

1843

Anna Atkins, widely cited as the first female photographer publishes her book of Botanical specimens using Sir John Herschel’s Cyanotype process

1851

Frederick Scott Archer revolutionises photography with the invention of the Wet Plate Collodion process which produces sharp images that are easily reproducible.

1878

George Eastman demonstrates the convenience of dry plates over wet plate and begins mass production by 1879.

Eadweard Muybridge develops high speed photography using a shutter to prove that horses gallop with all four feet off the ground.

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1885

The first film on a roll becomes available.

1891

The first daylight-loading cameras become available –photographers no longer need a darkroom.

1900

The first Brownie cameras are introduced by Kodak.

1907

Autochrome becomes the first commercially available colour photographic process.

1925

The Leica I camera for perforated 35mm is launched and goes into serial production.

1931

Harold Edgerton pioneers the use of strobe lighting to freeze motion and later invents the electronic flash.

1936

Kodak introduces Kodachrome colour film for still cameras, developed by musicians turned scientists Leopold Godowsky Jr. and Leopold Mannes.

1975

Steven Sasson develops the first digital camera which records images onto cassette tape to be viewed on a TV screen.

1983

Chuck Hull creates the first 3D printer.

1988

Sony market the first digital camera for consumer use, the Mavica.

1989

Steven Sasson and Robert Hills create the first modern digital SLR (single lens reflex) camera.

2000

The popularity of social networks encourage people to share digital photographs online.

2007

High definition holographic projection systems are developed in the UK

by Musion systems.

2012

A holographic projection of deceased rapper Tupac Shakur performs on stage at Coachella festival.

2030

Holographic projection becomes available through smartphones, allowing people to converse ‘in person’ around the world.

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Links to the Curriculum for KS2 and KS3

The activities in this pack will enable children to explore and develop key areas of the current National Curriculum with a focus on Art & Design, History and English. There are activities that allow them to work on their own and to collaborate with others in small groups.

In the Art and Design curriculum they will

And specifically for Key Stage 3:

support pupils to:

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produce creative work, exploring their ideas and recording their experiences

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analyse and evaluate their own work, and that of others, in order to strengthen the visual impact or

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using the language of art, craft and design

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applications of their work

evaluate and analyse creative works

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learn about the history of art, craft, design and architecture, including

know about great artists, craft makers

periods, styles and major movements

and designers, and understand the

from ancient times up to the present day

historical and cultural development of their art forms

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create sketchbooks, journals and other media to record their observations and use them to review and revisit ideas

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In the History curriculum the activities will, in

In the English curriculum the activities will

part, support pupils to:

support pupils to strengthen the following skills:

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gain historical perspective by placing their growing knowledge into different contexts, understanding the connections between local, regional, national and international history; between cultural, economic, military, political, religious

develop ideas thoughtfully, describing events and conveying their opinions clearly

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acquire a wide vocabulary, and begin to vary their expression and vocabulary

and social history; and between shortand long-term timescales

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ask relevant questions to clarify, extend and follow up ideas

gain understanding of how our knowledge of the past is constructed from a range of sources, and that

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elaborate and explain clearly their understanding and ideas

different versions of past events may exist

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talk and listen with confidence in an increasing range of contexts

ICT skills will also be supported in pupils’ use of digital cameras and/or iPads to record observations.

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Knowledge and Understanding Questions, Discussions & Activities to Explore— KS2 Before your visit 1.

Find out as much as you can about dioramas and panoramas. What is the difference between them? Is an image always two-dimensional? Discuss.

2.

Look at early photographic images and the work of photographers including Henry Fox Talbot and Louis Daguerre.

Talk about what is and isn’t depicted in these images and the limitations of the long exposure times once required.

It is rare to see wild animals in old photographs. Why do you think that is?

You may want to use the image by Daguerre on the following page.

3.

Find out as much as you can about Camera Obscuras. Is this photography, film or something other? Discuss.

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Questions, Discussions & Activities to Explore— KS2

Boulevard du Temple, taken by Daguerre in 1838 in Paris, includes the earliest known candid photograph of a person. The image shows a street, but because of the over ten-minute exposure time the moving traffic does not appear. At the lower left, however, a man apparently having his boots polished, and the bootblack polishing them, were motionless enough for their images to be captured.

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Knowledge and Understanding Questions, Discussions & Activities to Explore— KS2 At the exhibition You will need sketchbooks or paper; pencils, pens, and, if possible, a camera and/or iPad. 1.

For Jielemeguvvie guvvie sjisjnjeli—film

How many animals can you identify?

inside an image, Gerard Byrne has created a 360 degree panoramic sound-

Where do they live?

scape of noises from nature, which corresponds with the Biologiska Museet’s

How do the different sounds make you feel?

panoramic diorama. The viewer can only see one section of the diorama at any one time but sounds from nature emit from all directions. Using a long piece of paper, draw at least three animals you see and try to position them according to their location in the diorama. The same animal should feature at both the beginning and the end of your drawing.

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Knowledge and Understanding Questions, Discussions & Activities to Explore— KS3 Before your visit 1.

Gerard Byrne is an artist whose work

2.

In the theatre and in film and television,

often involves restaging past

set texts are being reinterpreted all of the

conversations. Explore the work of other

time. On occasions, famous plays or films

artists whose work involves recreations.

have been credited with influencing what we believe to be historical fact. For

Examples might include Omer Fast’s film,

instance, Shakespeare’s depiction of

Spielberg’s List based on Schindler’s List:

Richard III as a villainous hunchback is

a film version of the Holocaust; or The

one many historians have argued against

Third Memory by Pierre Huyghe in which

and yet remains the dominant image.

the artist reconstructed Sidney Lumet’s film Dog Day Afternoon.

Look at two versions of the same text.

One may be a book, the other a play. Or it

What is the difference between

could be two films of the same story.

recreation and copying?

Discuss the methods used to bring new meaning to the same source material.

Are artists simply plagiarising from other

This could include bringing an

people’s work, or does their work bring

historical story into the present day. It

new layers of meaning?

could be changing the gender of a main character, or where they’re from...

Discuss.

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Knowledge and Understanding Questions, Discussions & Activities to Explore— KS3 At the exhibition You will need sketchbooks or paper; pencils, pens, and, if possible, a camera and/or iPad.

1.

In Subject and New Sexual Lifestyles, Gerard Byrne has used written material – either that has been published or is archival—as his film scripts. Working in groups of three, choose one of the films.

Both films are presented on three monitors so each of you can watch one.

2.

Continue working in your group of three to write a very short script. Then, act out the script but playing it in two different ways to suggest different interpretations.

Perform it both ways in front of the class.

Discuss what you see in the film.

What do the class think is happening Are these people actors or are they

each time?

speaking their own words?

What has changed?

Are the films from the 1960s/1970s?

BOTH OF THESE FILMS INVOLVE

What is real and what isn’t? How do you

DISCUSSIONS ABOUT SEX. TEACHERS ARE

know?

ADVISED TO WATCH THEM FIRST.

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3.

Watch Jielemeguvvie guvvie sjisjnjeli—

4.

Choose one of the animals you see. Study

Film inside an image. Make notes and

it closely. The Biologiska Museet was

observations about what you see.

opened in 1893. The animal you have chosen lived a long time ago.

Now, sitting down, close your eyes and listen.

Write a description of the animal, imagining it still living. Tell its story.

What can you hear?

How does it make you feel?

What words would you use to describe it?

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Exploring and Developing Ideas Follow Up Activities - KS2

1.

Write a Story

2.

Imagine a timeline

Look at these images of the diorama.

In the exhibition, the artist Jo Gane has

Choose one, and then begin a short story

created a timeline of photography which

with the words:

extends into the future. Create your own timeline—looking both back into the past

As I approached the lake/shore/wood,

and imagining the future. It could be for a

I saw...

piece of technology, such as the telephone. It could be for yourself.

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Exploring and Developing Ideas Follow Up Activities - KS2

3.

Joiners Gerard Byrne’s film of the Biologiska Museet diorama seems to be continuous.

The artist has hidden the ‘joins’.

In the 1980s, the artist David Hockney began to produce photo-collages, such as this one, which he called ‘joiners’. Taking a number of photographs of a single subject, he would then arrange them like a patchwork to make one whole image.

Choose a subject. It could be of one person or a group of people, such as on the next page. It could be of your room, or a landscape. Take lots of images, print them out and then put them together to make your own ‘joiner’.

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Exploring and Developing Ideas Follow Up Activities - KS2 2.

1.

In the exhibition, the artist Jo Gane has

Look at these images of the diorama.

created a timeline of photography which

Choose one, and then begin a short story

extends into the future. Create your own

with the words:

timeline—looking both back into the past and forward into the future. It could be

As I approached the lake/shore/wood, I

for a piece of technology, such as the

saw...

telephone. It could be for yourself. Be imaginative.

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4.

Journey

5. Imagine a new animal

The diorama of the Biologiska Museet

The animals in the Biologiska Museet died a

represents a journey from the coast of

long time ago. These days, animals are not

Sweden inland.

killed for display in museums. One of the more unusual exhibits in the museum in

Take a series of images of your journey to

Stockholm is the Skvader: a hybrid of a

school from home – take in details as well

capercaillie and a hare. If you were to create

as long shots. Print them out as a long

a new hybrid animal, what would it be, what

line – a visual diary. Write underneath

would you call it and what characteristics

each one what it going on.

would it have?

Can you draw it? Or you may want to ‘join’ two photographs together.

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Exploring and Developing Ideas Follow Up Activities - KS3 1.

The Biologiska Museet was created by a

People you may want to study in more

man called Gustaf Kolthoff (1845-1913).

depth could include:

Its aim was to: Richard and Cherry Kearton “show visually those things about animal life which are impossible to describe in words; the habitats in which different animal species live, how their forms and outer appearances are adapted to these habitats, how birds build their nests, how

Eadweard Muybridge

their nests, eggs and young appear, and so on.�

(Manuscript from the Skansen archive, Stockholm. Translation taken from Karen Wonders: Habitat Dioramas: Illusions of Wilderness in Museums of Natural History,

David Attenborough

Coronet Books, London,1993.)

Research the history of wildlife photography and film. Find out as much as you can about how it has changed and how technology has helped us to understand more about the natural world.

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2.

In the exhibition, 1/125 of a second at the

Create your own diorama.

Mead Gallery, the gallery is lit in a way more closely associated to theatres or

It could be the design for a film or

television studios. Monitors and

television set. It could be the design for a

projection screens may look like props, or

museum display. It could even be the

perhaps even actors.

design for an exhibition—possibly of your own work.

The diorama was invented in 1822 by Louis Daguerre, who went on to invent

Use lighting to change the mood of your

one of the first forms of photography—

diorama, or to change its meaning.

the daguerreotype. Daguerre's diorama consisted of a piece of material painted

Look at other artists’ work for inspiration.

on both sides. When illuminated from the front, the scene would be shown in one state and by switching to illumination

3.

Take a photograph of where you live.

from behind another phase or aspect

Then create a timeline by drawing what it

would be seen. Scenes in daylight

could look like in 20, 40, 60 years time

changed to moonlight, a train travelling

(you decide).

on a track would crash, or an earthquake would be shown in before and after

What could happen there?

pictures.

Image above: Tim and Sue Noble Dirty White Trash (with Gulls), 1998

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How to turn a smartphone into a pin-hole camera You need: a small piece of cardboard, tape and a sewing needle

When you take the photo on your screen the hole will be small - but you can crop and mess around with the colour etc. afterwards, unless you zoom in. Here’s a few using an iPhone:

1. Poke a hole in the piece of cardboard

If you want to actually make your own pinhole camera, print out this PDF template

2. Tape the hole over the camera lens

http://corbis.readymech.com/templates/ localizations/en/WPCDC.pdf

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How to make a camera obscura You need: an empty cereal packet, tape, scissors , a bag and a pin

1. Cut a large aperture out of the box and tape the 'screen' over the gap.

2. Use a pin to make a small hole on the opposite side of the box to the screen.

3. Hold close to a light source to view the inverted image.

You can find more ways to make a camera obscura at: http://www.pinholephotography.org/ camera%20obscurer.htm

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Further Links

The Biologiska Museet http://www.biologiskamuseet.com/

Dioramas and Panoramas https://en.wikipedia.org/wiki/Diorama https://en.wikipedia.org/wiki/Panorama http://panoramacouncil.org/

Early Film and Photography https://en.wikipedia.org/wiki/Camera_obscura https://en.wikipedia.org/wiki/Daguerreotype http://www.metmuseum.org/toah/hd/dagu/ hd_dagu.htm https://en.wikipedia.org/wiki/ Henry_Fox_Talbot https://en.wikipedia.org/wiki/ Eadweard_Muybridge http://www.britannica.com/technology/ photography

Gerard Byrne http://www.gerardbyrne.com/ http://www.lissongallery.com/artists/gerardbyrne http://www.whitechapelgallery.org/ exhibitions/gerard-byrne/ http://www.art-agenda.com/reviews/gerardbyrne%E2%80%99s-%E2%80%9Cpresentcontinuous-past%E2%80%9D/ http://www.theguardian.com/ artanddesign/2013/jan/20/gerard-byrnewhitechapel-gallery-review http://www.independent.co.uk/artsentertainment/art/features/in-the-studiogerard-byrne-artist-8465432.html Interviews with the Artist https://vimeo.com/18963810 https://www.youtube.com/watch?v=bR7gxA0PFQ https://www.youtube.com/watch? v=DR6nLBJOxu0 https://www.youtube.com/watch? v=lclNMi4EW0o

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Planning Your Visit to the Mead Gallery

Contact Details and Opening Hours

Coaches

Mead Gallery

On all occasions when any number of minibuses or

Warwick Arts Centre

coaches are expected at any time of day, the Front

University of Warwick

of House team MUST be informed so that they can

Coventry CV4 7AL

make arrangements with Campus Security.

Box Office: 024 7652 4524

Please call our Box Office team on 024 652 4524

Open Monday – Saturday 12 noon – 9pm. Free Entry.

Cars Charges apply for all University of Warwick car parks

For group visits, it is advisable to book in advance.

during the day. The nearest to Warwick Arts Centre

The Mead Gallery is exclusively available for school

is CP7 (free if arriving after 6pm). CP7 has no lift.

group bookings Monday – Friday, 9am – 12noon by prior arrangement. Staff and resources are available

Minibuses

to support these visits.

CP4 and CP5 (1hr max stay) are not heightrestricted. Charges apply. After 6pm, please use CP4

Parking at Warwick Arts Centre

or CP5, which are both free.

Daytime parking on campus can be difficult so please allow plenty of time. For directions to Warwick Arts Centre, go to http:// www.warwickartscentre.co.uk/your-visit/gettinghere/ For a map of the campus, go to http:// www2.warwick.ac.uk/about/visiting/maps/ campusmap/

Lunch If necessary, rooms are available where pupils can eat their packed lunches. Let us know in advance if you want us to book one.

Toilets Public toilets are available in the Arts Centre.

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Before Your Visit

Drawing

We recommend a preliminary planning visit and are

The Mead Gallery has some drawing materials

happy to discuss your requirements with you.

available and can supply a certain amount of clipboards. Please contact Gallery staff on 024 7657

Adult supervision of students under 16 is required at

3732 to discuss your needs. We regret that we

all times. An adult student ratio of 1:5 for under 5s,

cannot supply drawing materials with little or no

1:10 for 5-11 year olds, 1:15 for 11-16 year olds and

notice.

1:20 for 16-18 year olds is required.

During Your Visit Teachers/group leaders and accompanying adults are responsible for their group’s behaviour whilst at Warwick Arts Centre.

Many artworks are fragile and damage easily.

Unless you are told otherwise, please take extra care to ensure that your group follows the Gallery guidelines at all times: No running No touching No leaning against walls or plinths No photography No eating or drinking

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Risk Assessment Area

Front of House & Venues

Responsible Staff

Duty Manager, Education Director

Hazard

School age parties attending performances and workshops

Description of Possible Risks

Trip hazards, children misusing seating, personal injury through participation

People at Risk

Young audience

Potential Severity of Injury (Major, Serious, Minor)

Minor (trip hazards and childish behaviour)

Description of Possible Injuries

Cuts, bruises, sprains caused by trips and falls

Probability of Occurrence (High, moderate, low)

Low

Measures to Control Occurrence

Sufficient stewarding of foyer and venues.

Notify teachers / chaperones of requirements to adequately supervise groups they are responsible for Circulate current policy to schools visiting the building on request. Adequate warm-up before physical activity

Potential for Injuries to More Than One Person

Low

Plans for Elimination / Control

Adherence to current Child Safety legislation Follow current policy (see attached sheets)

Training Requirement / Information

Liaise with schools, Steward training

Monitoring / Health Surveillance

Liaison with teachers / chaperones Venues and building regularly inspected by competent staff. All accidents and near misses are reported to the Duty Manager in the first instance, and subsequently reported online to the Health, Safety and Wellbeing Team.

Emergency Procedures

Immediate first aid assistance Ensure all staff and visitors are aware of how to contact Arts Centre First Aiders and/or Security staff

Assessment Review Date

21 November 2016. Or if: The Assessment is no longer valid There are significant changes in activities or facilities A related accident occurs

Signed

Brian Bishop, Education Director - Department Head Andrea Pulford, Director-Planning & Operations Responsible Director 20.11.2015

Risk Assessment Area

University of Warwick campus and journey from coach/ minibus drop off point to Warwick Arts Centre

Responsible Staff

Duty Manager, Education Director

Hazard

School age parties attending performances, workshops and the Colour and Sculpture Trail

Description of Possible Risks

Road Traffic Accidents, Trip hazards

People at Risk

Young audience

Potential Severity of Injury (Major, Serious, Minor)

Major (road traffic accidents)

Description of Possible Injuries

Death or serious injury resulting from road traffic accidents Cuts, bruises, sprains caused by trips and falls

Probability of Occurrence (High, moderate, low)

Low

Measures to Control Occurrence

Full liaison with University Security regarding any visits by schools/colleges arriving by coach or minibus.

Security will guide parties to Arts Centre when coaches/ minibuses arrive at the front of the building or bus exchange. Notify teachers / chaperones of requirements to adequately supervise groups they are responsible for if the drop off point is further away from the Arts Centre requiring crossing roads or they are taking the Sculpture or Colour Trails. Circulate current policy to schools visiting the building on request.

Potential for Injuries to More Than One Person

Low

Plans for Elimination / Control

Adherence to current Child Safety legislation Follow current policy (see attached sheets)

Training Requirement / Information

Liaise with schools, Steward training

Monitoring / Health Surveillance

Liaison with teachers / chaperones All accidents and near misses are reported to the Duty Manager in the first instance, and subsequently reported online to the Health, Safety and Wellbeing Team

Emergency Procedures

Immediate first aid assistance Ensure all staff and visitors are aware of how to contact Arts Centre First Aiders and/or Security staff

Assessment Review Date

21 November 2016. Or if: The Assessment is no longer valid There are significant changes in activities or facilities A related accident occurs

Signed

Brian Bishop, Education Director - Department Head Andrea Pulford, Director- Planning & Operations Responsible Director 20.11.2015

Risk Assessment Advice to Persons Accompanying Visits by School Parties

GENERAL

IN VENUE

Warwick Arts Centre is situated on the campus of the University of Warwick, which during term time has over 24,000 students on site. We therefore have a medical centre on campus with trained medical staff a phone call away. Warwick University and the Arts Centre have pools of first aiders.

In the Mead Gallery, we ask that you follow the guidelines:

HEALTH AND SAFETY POLICY As a department of the University of Warwick, Warwick Arts Centre is monitored by the University Health, Safety and Wellbeing Team. The University Safety Policy, Safety Plan and Safety Audit cover all elements of health and safety, including visitors on campus. In addition the Arts Centre has a Departmental Safety Officer (Technical Manager). An Arts Centre Safety Policy details area-specific issues and evacuation procedures.

CAMPUS Whilst on visits, children should only leave the Arts Centre under the strict supervision of their teacher. They should be made aware beforehand of the busy nature of the site including its main road, which is well used by cycles, cars, University vehicles and buses. Please see below regarding arriving and departing by coach.

FRONT OF HOUSE Warwick Arts Centre has a large foyer area with a cafĂŠ bar, shops, bars and large open spaces where normal general hazards apply. The foyers are well used by University students and staff at all times. Children should be briefed before their visit about staying safe in this environment.

Advice should include: No running.

Attention to be paid to automatic door operation.

Avoid trapped fingers in the doors.

No unsupervised use of the lift.

No unsupervised visits to the Bookshop.

Take care around the glass balustrades.

Not talking to anyone who is not part of their party or a member of the Warwick Arts Centre staff that they know.

Please note that we cannot accommodate groups eating lunch in the foyers. If schools wish to stay for lunch, Arts Centre staff should make particular arrangements with teachers in advance.

No running No touching No leaning against walls or plinths No photography No eating or drinking

SCHOOL GROUPS ARRIVING FOR WARWICK ARTS CENTRE BY COACH On all occasions when any number of minibuses or coaches are expected at any time of day, the Front of House team MUST be informed so that they can make arrangements with Campus Security.

Daytime When 3 or fewer coaches are expected, drivers and teachers will be asked to drop off at the bus exchange.

Security will meet them and accompany young people to the Arts Centre doors where stewards will take over.

When more than 3 coaches are expected, drivers and teachers will be asked to drop off on the hard standing at the front of the Arts Centre. Security will meet them and direct the parties to the Arts Centre doors where stewards will take over.

Evening When minibuses or coaches are expected for evening events, the Front of House team will make particular arrangements with Campus Security dependent on the amount of activity taking place campus-wide on that particular evening, the size and number of minibuses/ coaches expected and whether any group has particular access needs that must be met. Drop off and parking information can then be sent to schools and/or coach companies.

Please note that coaches and minibuses may not be able to stay at the drop off point for the duration of their visit, and should be advised by Security on the day of a safe place on campus to park-up. They can then return to the drop off point to collect school groups at the end of their visit.

Risk Assessment Management of Safety

Warwick Arts Centre ensures that safety standards are maintained in accordance with the University’s and the Arts Centre’s Safety Policy. The Health and Safety policy is reviewed annually and reported accidents and incidents are monitored through Warwick Arts Centre’s attendance at the Campus and Commercial Services Health and Safety meetings.

The Safety Committee shall meet at least three times every year. The minutes of each meeting shall be made available to all staff and to the University Safety Office.

Emergency Safety Personnel Duty Fire Officers Operations Assistants

First Aiders Operations Assistants

Emergency Telephone Numbers internal 22442 Radio 51724 – 217#

internal 22442 Radio 51724 – 217#

House Management

Internal 22793 / 24903 Radio 51724 – 216#

Security Staff

Internal 22222 / 22083

University Safety Office John Phillips (Director of Health & Safety)

024 7652 3208 Mobile 07884 733064

Graham Day (Food Health & Safety Manager)

024 7615 0023 Mobile 07920 053111

Web Site http://www2.warwick.ac.uk/services/ healthsafetywellbeing

Internal Emergency Services Health Centre Security / Main Gate Mobile phone users should call External University Hospital Coventry

x 22222 x 24888 x 22083 / 22222 024 7652 2083

024 7696 4000 Main switchboard

Emergency services should be called via x 22222 not 999 in order that Security can escort the vehicles to the incident.

Emergency First Aid incidents should be reported to x 22222 and not to the Health Centre which does not provide first aid cover.

Staff wishing to report a health and safety issue should contact either their head of department, area safety representative, Duty Manager or go directly to the Departmental Safety Officer.

All personal accidents must be recorded on an accident report form (obtained from the Departmental Safety Officer, General Office, and Front of House Office) and passed to the Departmental Safety Officer (copied to the Arts Centre’s Director of Planning and Operations) who will forward a copy to the University Safety Office. Where applicable, accidents will be reported to the H.S.E.

Risk Assessment School and Post-16 Workshop Activities

An aspect of much of the education work carried out by the Arts Centre is that the venue hosts workshop events; in general these are aimed at school children and post-sixteen year old students.

The safety concerns of such events are distinct from those related to organised trips to visit the Arts Centre and for students on work experience placements, for which separate documents exist. The presence of a large number of children, some as young as four years old and with no previous experience of the hazards associated with performance venues, can raise particular safety issues, which all those concerned with the events, should be aware of.

Chaperone Under no circumstances should any participants be attending events without adequate supervision. It shall first and foremost be the responsibility of teachers or, if so delegated, the Arts Centre’s Education Director or Education Officer or (where appropriate) parents or guardians of children under the age of sixteen, to ensure that participants are sufficiently supervised. Supervisors and workshop leaders must ensure that students are aware of hazards and do not enter or leave the area of the workshop without their knowledge and permission It is the policy of the Arts Centre that all staff, both venue and visiting, whose work requires them to take on a supervisory position with children, should have a Disclosure and Barring Service Enhanced Certificate (DBS) dated within the last two years.

Venue General Safety Issues It shall be the responsibility of either the Technical staff working with the event or members of the Education Department to make an assessment of the hazards in Existence associating the venue. All efforts must be made to minimise the risks from hazards which can not be eliminated. All participants in the workshops must be made aware of the existence of hazards.

Evacuation The Arts Centre’s evacuation procedure is detailed in the venue’s safety policy.

It shall be the responsibility of the Education staff or the member of Technical staff who organised the event to ensure evacuation and safety information has been given by a competent person.

All participants should be made aware of routes of safe evacuation in the event of an emergency as soon as is practicable after they have entered the building Workshop leaders should be made aware of how to contact first aiders.

No workshop should take place unless there is a Duty Manager and a Duty Fireman in the venue.

A full register of students and supervisory staff attending the workshops must be held by a competent member of Arts Centre staff.

The Mead Gallery  Participants must be made aware of the hazards associated with specific exhibits  Participants must not enter the office or workshop area unless accompanied by a member of Arts Centre staff considered competent by the Curator

This pack has been written and designed by the Mead Gallery December 2015