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KS3-5 Summer Season 14 May – 25 September 2011

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KS3-5 Summer Season 14 May – 25 September 2011 Teacher Resource Notes – KS3-5 Summer Season 14 May – 25 September 2011 Martin Creed / Fischli and Weiss / Naum Gabo / Lucio Fontana / Anri Sala / Margaret Mellis / Agnes Martin / Roman Ondák / These notes are designed to support teachers and students as they explore and engage with the art work. As well as factual information they provide starting points for discussion, ideas for simple practical activities and suggestions for extended work that could stem from a gallery visit. To book a gallery visit for your group call 01736 796226 or email [email protected] . Season overview This season Tate St Ives uses the gallery to display eclectic work from eight different artists, exhibited in different spaces, featuring art from the Tate Collection and contemporary international work. Walking through the galleries provides an opportunity to experience how work responds to the architectural spaces, sometimes playfully, and to connect themes of light, structure and space in a mix of various art practices and media. The Heron Mall and Lower Gallery 2 displays work by Martin Creed (b1968), the 2001 Turner Prize winner. Text, light and latex balloons transform the gallery spaces, inviting surprise and visitor participation. Also in the Heron Mall three monitors display thousands of photographs by the artistic partnership of Peter Fischli (b1952) and David Weiss (b1946,) exploring travel, the exotic and everyday reality of daily lives and the ordinariness, humour and drama in our world. Gallery 1 displays Prototypes for Sculpture and explores the working process of Naum Gabo (1890 –1977) in drawings and maquettes, as well as final sculptures. Gabo was a Russian exile who came to Carbis Bay in 1940 and his constructivist work had a profound influence on artists in St Ives, especially Barbara Hepworth and Ben Nicholson. Terracotta and ceramic sculptures and paintings by the Italian artist Lucio Fontana (1899-1968) are shown in Upper Gallery 2. These include some buchi (‘holes’) works, where punctures through the materials explore variations of space and time. The video, Ghost Games, by the Albanian artist Anri Sala (b1974) is shown in the Apse. Ghost crabs appear in beams of torch light on a night time beach, as if participants in a playful game; but the video invite other personal responses. Gallery 3 displays early collages, made in St Ives, and later assemblages by Margaret Mellis. Visitors can compare the constructivist influences of Naum Gabo and Ben Nicholson in St Ives with Mellis’s later intuitive work, exploring colour in driftwood assemblages Gallery 4 shows another in the series of ARTIST ROOMS at Tate St Ives: the minimalist, delicate but powerful works of Canadian artist Agnes Martin (1912-2004). Martin is often identified with American minimalists like Donald Judd, but she related her own grid-based work to Expressionism and the influence of Mark Rothko and Barnet Newman. She lived and worked in New York in the 1960s but had previously responded strongly to the space and simplicity of New Mexico. The work in Gallery 5 will be made as the summer season progresses and all visitors are invited to participate in its process, performance and making. Roman Ondák (b1966) is a Slovakian installation and performance artist and in Measuring the Universe 2007 he changes the empty white gallery space by recording physical traces of visitors, marking their heights, names and dates around the walls. Ways of Looking: ideas for KS3-4 groups Listening to others/responding personally/sensory experiences A huge amount of information can be revealed just by asking the question 'what do you see?'. Once a few ideas are circulating, this often cascades into very imaginative and perceptive ways of viewing the work. Asking 'why do you say that?' invites more considerations and sharing of ideas from students. • What word(s) does the work make you think about? • Have you seen anything like this before? • What do the titles tell you? • What does the colour make you think about? Visual experience/what can you see/traditional and new media What materials and processes has the artist used to make the work? Have you seen this material in art before? Do you think some materials have more relevance to art than others? Is the work part of a series? Is the work made in traditional or new materials? What is it? (Painting, sculpture, drawing, collage etc) How is it displayed? What space does it occupy and how does it relate to other work in the exhibition? What is the scale of the artwork and how does this affect our relationship to it? Does it have a frame or support? Is the work made to be permanent? What tactile qualities does the work have? Communication of ideas and meaning What do you think the artist wants to communicate? Is it about real life? Is there a story or narrative in the work? Does it communicate an issue or theme? Does it have cultural, social or political meaning? Does it relate to contemporary life? Does the title affect the meaning of the work? Art in context/cultures/times. Local/national/global Is the work about a particular place? Who is the artist? Is it important to know who created the work? Does the artist’s background inform the work? Is the work site-specific? Has the work reinvented art from other times and cultures? Does the work comment on contemporary society? Heron Mall Fischli and Weiss Visible World 1997 Video installation Tate. © The artists and Matthew Marks Gallery New York Three monitors display thousands of images in a slide-show depicting a chronological account of travels the artists have made. These evoke familiar tourist photographs mixed with individual responses to the unexpected splendour of the world. Cultural techniques of the amateur Is there a difference between these photographs by the artists Fischli and Weiss and corny tourist images? Is this a documentary record of travels and journeys or is there a back text that informs you this is an artwork? How does the structure of three monitors affect your interpretation of this work? Facets of the commonplace in an extraordinary way Consider how Fischli and Weiss bring your attention to both the mundane ordinariness and encyclopaedic beauty of the planet. Create a group mind map of your immediate responses to the images. Compressing time Discuss the time elements in this work; images about the speed and change of daily modern life exhibited with seemingly unchanging, profound landscapes. Consider the actual travelling time it took to record and collect the images and how we view them; do they engage your attention or do you glance at this stream of information? Do we view a TV differently to a film in a gallery? Gallery 1 Naum Gabo Model for ‘Spheric Theme’ c.1937 Tate © Nina and Graham Williams The Modernist sculptor Naum Gabo (1890-1977) lived in Carbis Bay (1939-46) and it was in St Ives that he began first to use nylon filament in his work. This gallery displays small models, sketches, drawings and templates as well as finished sculptures, providing an insight into Gabo's hands-on working process. Experiments in simple materials developed into complex finished sculptures in glass, metal and the new plastics (some of which proved to be quite unstable). Gabo sometimes produced multiple versions of sculptures, using different materials, exploring themes of space and time. You can view films about Naum Gabo in the Studio – access via the lift at the end of gallery one. Hand made Naum Gabo constructed his work with simple equipment and skilful, patient hands; look closely at the unevenness of notches in the nylon monofilament sculptures. Make comparisons between the simplicity of the models and the industrial and mathematical finish of completed threaded filament works. Contrast traditional hand- carving in natural materials with the work in man-made plastics. Carving/construction Kinetic stone carving 1936-44 was Gabo’s first pure carving. He started working on this in London in 1936 and completed it in Cornwall. He admired the work of Barbara Hepworth. Although Gabo was developing radical new work constructed in transparent materials using line, intersecting planes and space, his carvings explored solid, curving mass and space using a traditional technique. Which methodology most suggests the concept of space to you? Sculpture drawings This display looks at how Gabo explored ideas in 2D and 3D about how to create sculptures using lines and planes rather than solid masses, especially using transparent materials. Make drawings that follow the curves around the inner space in Gabo's work. Which is more important in a work: the space or the outer form? Does one necessarily describe the other? Upper Gallery 2 Lucio Fontana Concetto Spaziale, Attesa 1960 Coutesy Robilant + Voena © Fondazione Lucio Fontana The Space Age of the 1950s and 1960s had a great impact on the work of Lucio Fontana (1899-1968), an Argentinean artist who worked in Italy. In this new era his artistic vision focussed on time, matter and space, and he responded with gestures that produced the hole and the cut (the buchi and the tagli ). Fontana worked with paper and canvas, as well as terracotta, ceramic and bronze. Real space/no illusion Perforating canvas created real space and a void in the surface; the canvas was no longer a means of illusionary representation of life. Do you regard the work as part of a space-time dimension or, in viewing the work, do your own experiences and knowledge evoke other meanings and references? What is the impact of colour? Painting/sculpture boundaries Consider whether these works are paintings or sculptures. The gestures of making slashes and holes produced space, which will always exist, even after the material of the artwork has decayed.
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