Sidney Cooper Gallery

ADAM CHODZKO DESIGN FOR A FOLD PRIMARY LEARNING PACK

16 OCT – 21 NOV 2015 ADAM CHODZKO 2013 We are Ready for your Arrival [Detail] (2013 at Raven Row, London, Two person exhibition with Iain Baxter.) Sculpture, video, drawing and photography, exploring manifestations of the unconscious relationships between

COVER IMAGE individuals and groups; their excesses, displacements and disappearances.

BACKGROUND INFORMATION Adam Chodzko’s art explores the interactions and possibilities of human behaviour. Exhibiting internationally since 1991, Chodzko works across media, from video installation to subtle interventions, with a practice that is situated both within the gallery and the wider public realm. His work investigates and invents possibilities of collective imagination in order to reveal the realities and fantasies that might emerge from the processes of engagement his practice evolves. Design for a Fold is a new installation incorporating many of Chodzko’s works made ‘locally’ since 2001, mapping his particular engagement with diverse places, times and communities around where he lives and works in Whitstable, Kent, alongside new work which seeks to root, or fold, the idea of the local within another, apparently remote, alien and distant place; Beppu, Japan. Chodzko proposes a new understanding of Kent, that questions assumptions of who, what, when and where we might be. Design for a Fold suggests, through a recontextualising of his archive of artwork, new, dynamic and global connections that weave together the real and hidden with collective mythology and imagination. This exhibition has been kindly supported by the Arts Council England and the Elephant Trust. 03

CV ADAM CHODZKO

Adam Chodzko (born 1965) is a contemporary British artist, exhibiting internationally. His practice uses a wide range of media, including video, installation, photography, drawing and performance. Chodzko studied at University of Manchester, BA (Hons) History of Art, 1985–88 and Goldsmiths College, London, MA Fine Art, 1992–94. Since 1991, Chodzko has exhibited at numerous venues around the world including Tate Britain; Tate St.Ives; Venice Biennale; Royal Academy; Ikon Gallery; Henry Moore Institute; Yorkshire Sculpture Park; Istanbul Biennial; Benakie Museum, Athens and Folkestone Triennial. Adam has also been shortlisted for this year’s acclaimed Jarman Award.

SELECTED SOLO EXHIBITIONS:

2015 Great Expectations, Guildhall Museum, Rochester

2013 Benaki Museum, Athens Marlborough Contemporary

2002 Fabrica, Brighton Arizona State University Art Museum, Tempe, Arizona Plains Art Museum, Fargo, North Dakota Cubitt, London

2001 Sandroni.Rey Gallery, Venice, California Galleria Franco Noero, Turin Els Hanappe Underground, Athens

2000 Accademia Britannica, Roma

1999 Galleria Franco Noero, Turin Ikon Gallery, Birmingham

1998 Gallery II, Bradford Northern Gallery of Contemporary SELECTED GROUP EXHIBITIONS:

2015 Private Utopia: Contemporary Art from the British Council Collection. Dunedin Public Art Gallery, New Zealand

2014 Rising, National Maritime Museum Alles Maskerade! MEWO Kunsthalle, Memmingen, Germany Les Rencontres Internationales, Paris Time Travel and the Interzone City, Sci-Fi: Days of Fear and Wonder. BFI, London. Programme curated by João Onofre, Fuso, Museu Nacional de História Natural e da Ciência, Lisbon Fieldworks. Animal Habitats in Contemporary Art, Lewis Glucksman Gallery, Cork, Ireland Bergé Collection, Real Círculo Artístico de Barcelona, Loop Festival, Barcelona Somewhat Abstract, Nottingham Contemporary Performance as Sculpture, Uovo festival, Milan Leaping the Fence, Hestercombe, Somerset. Private Utopia: Contemporary Art from the British Council Collection. Tokyo Station Gallery touring to Itami City Museum of Art, Kochi Museum of Art, and Okayama Museum of Art

2013 Assembly: A Survey of Recent Artists’ Film and Video in Britain 2008–2013, Tate Britain. How is it towards the East? pp.8, 26, 27. Calvert 22, London. Because… New commission as part of Schwitters in Britain, Tate Britain, London

2012 Made in Britain – Contemporary Art from the British Council Collection 1980 – 2010, Benaki Museum, Getting it Wrong, Weisses Haus, Vienna*

2011 Again, A Time Machine - Make the Living Look Dead, Bookworks, Spike Island, Bristol Loophole to Happiness, Museum of Contemporary Art, Lodz, & Futura Centre for Contemporary Art, Prague & AMT Projects Bratislava

2010 Cinecity, Brighton festival. Apocalypse Now, Krowswork, Hot Springs Documentary Festival, Oakland, California. Here, There and Everwhere, Towner Gallery, Eastbourne. BLOOD TEARS FAITH DOUBT, Courtauld Gallery, London. Whitstable Biennale, Whitstable, Kent. The Gathering, Longside Gallery, Yorkshire Sculpture Park.

2009 Altogether Elsewhere, Zoo, London* Journeys With No Return, Akbank, Istanbul Biennale*. For the Straight Way is Lost, Athens Biennale* English Lounge, Tang Contemporary Art, Beijing

2008 Martian Museum of Terrestrial Art, Barbican Art Gallery, London* Tales of Time and Space, Folkestone Sculpture Triennial, Folkestone, Kent* Print the Legend, Fruitmarket Gallery, Edinburgh*

2007 Breaking Step, Museum of Contemporary Art, Belgrade* Gallery Exchange, Neue Alte Brücke, Frankfurt Beyond the Country, Glucksman Gallery, Cork

2006 One Brief Moment, apexart, New York* From There, Bloomberg Space, London Unfinished Business, Museum of Contemporary Art, Belgrade Fire, Galleria Franco Noero, Turin Belief and Doubt, The Aspen Art Museum, Colorado* 05

QUESTIONS TO ADAM CHODZKO BY KENT REFUGEE ACTION NETWORK STUDENTS, WITH ANSWERS, AUGUST 2015

1. WHAT TIME DO YOU START WORK? I wake up early and am alert. I start work straight away.

2. WHO IS ADAM CHODZKO? That is a difficult question to answer. Adam is always changing from life experiences. The man that went to Japan a few months ago is very different to the Adam you see here today.

3. HOW DID YOU BECOME AN ARTIST? I decided at about age 23 to become an artist because I kept telling my friends I wanted to be one.

4. WHERE DO YOU LIVE? I live in Whitstable in Kent. I’ve lived there since 2001.

5. WHO DO YOU LIVE WITH? I live with my wife Gretchen, who is an actress and my two sons Seph, 14 and Clay, 11.

6. WHEN DID YOU START SCHOOL? I started school when I was 5 years’ old.

7. WHEN DID YOU STOP SCHOOL? My formal education stopped in 1994 – 21 years ago.

8. WHY DO YOU LIKE ART? Good question. The freedom it can bring together incredible things in a very simple way without needing other people to help you.

9. WHAT WAS THE FIRST ART YOU DID? Probably when I was about 1 years old with a crayon or pencil.

10. HOW DID YOU GET YOUR IDEA WHEN YOU DID THE ART? They come partly from looking at the world and seeing things I like. Or by hearing some music I want to draw that in a lot too. I use film a lot. I’ve become bad a reading and film is a big influence on me. Quite often conversations I have with my sons will end up in part of an artwork. I often go running to empty my head and to allow stuff to come up.

11. WHAT IS YOUR FAVOURITE COLOUR? Olive green and electric blue (although I don’t wear it).

12. WHEN WERE YOU BORN? I was born in 1965 just outside of London. My father was half Polish and my mother is half Scottish.

13. WHERE DO YOU COME FROM? I come from London although I live in Whitstable.

14. WHEN DID YOU START THIS JOB? I gradually became an artist. I knew I wanted to work in a gallery but I always wanted to make my own work and to work on my own. Making art makes me feel free and I enjoy taking risks.

15. DO YOU LIKE THIS JOB? Yes I do. 16. WHO HELPED YOU TO BECOME AN ARTIST? My parents helped me to become an artist. My father died in 2000 but he had an incredible imagination – he liked to think but wasn’t very practical. My mother is very practical and has a great energy.

17. WHY DO YOU LIKE ART? I like the freedom it can give you.

18. DO YOU LIKE CHIPS? Yes I do! But I try not to eat too many of them; although there is a good chip shop near to where I live.

19. WHAT MAKES YOU HAPPY? My family and being with them and my work. I like walking and I like certain foods, like Tom Yum soup.

20. DO YOU LIKE PAINTING? Yes, I started off painting but I hardly paint anymore. I find it quite difficult and I like looking at it. I find it frustrating in that you have to wait for it to dry.

21. WHAT IS YOUR JOB? That’s a difficult question.

22. WHEN DID YOU START ART? My first artwork was when I was about 14 or 15. I was inventing album covers for musicians that I really liked. Before that, I drew a lot of spaceships. My dad used to draw and I drew a lot as a child.

23. WHERE DID YOU LEARN? I did an Art History degree at the University of Manchester and then studied an MA at Goldsmiths in London.

24. WHO HELPED YOU TO BECOME SUCCESSFUL? My parents did.

25. WHAT IS THE KEY TO YOUR SUCCESS? Hard work. Being very true to yourself and what you believe in. Be focused and trust in how strange your work is. It is a slow process. It is a long-term process finding what you believe in.

26. HOW MANY YEARS HAVE YOU BEEN WITH ART? Since I was a young child.

OVER TO YOU: What questions would you like to ask Adam? What do you think his answer to your questions might be? Do you think you would like to meet Adam? Are there any answers here that surprise you? Would you like to be in his art – like his sons often are? 07

ADAM CHODZKO: GHOST 2010

(ADAM PADDLING WITH ONE OF HIS SON’S IN THE FRONT) INFORMATION GLEANED FROM AN INTERVIEW WITH ADAM CHODZKO IN SEPTEMBER 2015:

Adam Chodzko was born in 1965 in Hammersmith but Adam currently lectures on the MA in Fine Art at Medway. grew up in the outer London suburbs of Pinner. His surname He doesn’t think that his students ever think of him as an originates from Poland as that is where his father came artist, rather that he is their tutor and, therefore, is not from. Adam still has fond memories of living in London, but entirely human. Conversations he has with his students says it feels like a long way from Whitstable as there isn’t might influence his work – particularly when he is trying anyone he knows there anymore. to work out how to talk about their work with them he discovers aspects about himself and his own practice. He has always liked pictures from a young age – finding Whilst teaching might take time away from his own practice them to be very powerful. He remembers the impact book it is a job that involves thinking about art. Adam enjoys illustrations had on him when he was a young child. As he engaging with art, ‘at the point when a young (or new) was brought up as a Roman Catholic, there was a lot of very artist first starts making a big discovery about what it is powerful imagery to see in the churches he visited. they have to say.’

As a young child he liked book illustrators like Arthur A number of artists have influenced his practice, from Rackham (1867-1939). Then he liked airbrush science fiction Sophie Calle, to Breughel, to Robert Smithson to Harun art and album covers. When he was around 14 he started Farocki. He comments, ‘sorry it’s an endless list of selected picking up the differences between art and illustration. individual works from many very interesting artists.’ He However, as a child, he didn’t imagine he would become an aligns himself to artists whose work he respects and they artist, he wanted to be an actor. can work in any medium. He works with every medium apart from painting on canvas. He likes to be out of One thing that strikes you when you speak with Adam is his depth, taking risks and improvising. He doesn’t feel his amazing imagination. He says his father really valued comfortable honing a craft in terms of a medium. Instead imagination and his mother valued the practicality to move he hones a craft through a process. imagination into reality. Speaking about his imagination he says, ‘I think I just spent a lot of time lost in my own Adam likes ideas. He says, ‘ideas can be massively strange thoughts anyway. It’s difficult to tell whether it was nature and beautiful and provocative in themselves and he or nurture.’ loves the economy of that. (I find artists doing massively expensive, huge bronze plaza sculptures really boring, and The biggest challenge in his artistic career he believes is literal, figurative work really pointless). Ideas and matter can ‘always the same challenge; to try to find ways, through evolve together to form something very organic and special. making art, to encourage someone to perceive the world, I think once the idea has planted energy into matter then better, through art. There are a lot of people out there materials, whether video, or a pencil drawing or a lump of who see no importance in art, seeing it as some kind of plastic, get pulled in, in a very harmonious way. But there unnecessary and extravagant frill on everyday life. So it is needs to be an economy. There is no point in just adding always a challenge working out new ways of making.’ more matter to the world for the sake of it. There is enough ‘stuff’ already.’ His advice to any new artist starting out on their career path today would be firstly to have a deep enjoyment To describe his work to children he would describe the and fascination in making, looking at, and thinking about process and the images etc. that result from this; saying art. Secondly, trust and work on what it is that they alone that, ‘it is best to not worry about whether it is art or not. can offer that is unlike anything else out there. Thirdly, be Children just experience it as an event, an engagement, patient, it takes a long time for people to trust that you in the world. As a form of play that is either intriguing might have something special to say. And fourthly, trust or tedious. The big misunderstanding (with adults more that it is worth it, certainly for a sense of freedom that is than children) is that they have to “get” what they are difficult to find anywhere else. doing. People are taught to be very suspicious if they don’t ‘understand’ something immediately. Children In his opinion, the most difficult aspects of being an artist are very happy with ambiguity but are taught by goal in today’s society is people’s obsession with money and oriented parents/schools etc. to feel uncomfortable with it. their fear of change and difference. Artists question the Ambiguity is fantastically productive because it is where we world which helps to destabilise a system of capitalism so can start discovering, and uncovering new space. But then many people out there have a problem with art. that causes questioning and change…and so again, is not so popular within a neo-liberal agenda.’ Adam’s two sons feature a lot in his artwork. He says, ‘I think they just think of it as part of their world. They see plenty more things out there which seem more immediately fun. But I think they appreciate that, although small, it is a very special part of life.’ 09

COMPREHENSION QUESTIONS:

1. DID ADAM ALWAYS WANT TO BE AN ARTIST? No, he originally thought he might become an actor.

2. WHAT TYPE OF ART WAS HE ATTRACTED TO INITIALLY? Book illustrations and album covers.

3. IS HIS SURNAME BRITISH? No, it’s Polish. His father came from Poland.

4. WHO FROM HIS FAMILY FEATURES A LOT IN HIS ARTWORK? His two sons.

5. WHAT ADVICE DOES HE GIVE TO NEW ARTISTS? To have a deep enjoyment and fascination in making, looking at, and thinking about art. To trust and work on what it is that they alone can offer that is unlike anything else. To be patient, it takes a long time for people to trust that you might have something special to say. And, to trust that it is worth it.

6. WHAT ARE HIS PARENTS’ VIEWS ABOUT IMAGINATION? His father really valued imagination and his mother valued the practicality to move imagination into reality.

7. WHO DOES HE MENTION HAS INFLUENCED HIS PRACTICE? Sophie Calle, Breughel, Robert Smithson. Harun Farocki.

8. IN HIS OPINION, WHAT ARE THE MOST DIFFICULT ASPECTS OF BEING AN ARTIST IN TODAY’S SOCIETY? People’s obsession with money and their fear of change and difference.

9. WHAT IS THE ONLY MEDIUM HE CHOOSES NOT TO WORK IN? Painting on canvas.

10. DOES HE HAVE ANOTHER JOB APART FROM BEING AN ARTIST? Yes, he is a university lecturer in Fine Art at Medway. ADAM CHODZKO: SERVER LILY, 2015 11

AT SIDNEY COOPER GALLERY: HISTORIC PLAQUE (see fact-finding sheet at back of pack)

Sidney Cooper Gallery: historic plaque

On entering the gallery, look to the right hand side, above the doorway and read the historic plaque (see image above) and answer the following questions:

1. When was Sidney Cooper born? 26th September 1803

2. How old was he when he died? 99. He Died 7 February 1902

3. What is Sidney Cooper’s full name? Thomas Sidney Cooper

4. When did he found the art school? 1st June 1882

5. What material is the plaque made from? Bronze/metal

6. Are there any paintings by Sidney Cooper in the Sidney Cooper Gallery? No

EXTRA RESEARCH QUESTIONS:

7. Where is the nearest place that you can see works by Sidney Cooper? The Beaney House of Art and Knowledge, Canterbury

8. How old was he when he painted his last piece? 99

9. Where can this painting be viewed? The Beaney House of Art and Knowledge, Canterbury Sidney Cooper Gallery

FREE ADMISSION Tuesday to Friday 10.30am - 5pm, Saturday 11.30am - 5pm St Peter’s Street, Canterbury, Kent CT1 2BQ Tel +44 (0) 1227 453267 Email [email protected] www.canterbury.ac.uk /sidney-cooper Registered charity number 1098136 Sidney Cooper Gallery

AT THE SIDNEY COOPER GALLERY DESIGN FOR A FOLD EXHIBITION VISIT ADAM CHODZKO’S DESIGN FOR A FOLD EXHIBITION AT THE SIDNEY COOPER GALLERY

Ask pupils to make sketches in their sketchbooks that they can use when they are back in class.

(Sketchbooks are available to purchase from the Sidney Cooper Gallery.) 03

ASK QUESTIONS ABOUT EACH OF THE ARTWORKS:

What do they think the work is about? How does it make them feel? Do they like it? Why/why not? What does it make them think about? Do you think the title is fitting for the work?

BACK IN THE CLASSROOM: KS1: TO DESIGN AND MAKE OWN CREATIVE CARNIVAL MASK (cross-curricular with Geography and History – outdated maps/countries’ names, etc.)

AN EXAMPLE OF A CARNIVAL MASK BEING MADE FROM TRAVEL GUIDES AND MAPS ART AND DESIGN PROGRAMME NATIONAL CURRICULUM SUBJECT CONTENT:

Key Stage 1 To use a range of materials creatively to design and make products To use drawing, painting and sculpture to develop and share their ideas, experiences and imagination To develop a wide range of art and design techniques in using colour, pattern, texture, line, shape, form and space To learn about the work or a range of artists, craft makers and designers, describing the differences and similarities between different practices and disciplines and making links to their own work

RESOURCES:

• Collection of old maps/atlases, out of date travel guides and travel books • Sellotape • Scissors, zig/zag scissors • A selection of Mirrors • Stapler

Back in class, pupils can create a carnival mask from old maps or travel guides. These guides/maps can be collected from jumble sales, libraries (outdated books) or old book stores.

First of all, ask pupils to describe some of the masks on display in the video that they saw in the Sidney Cooper Gallery – see image above as a reminder. They may have made some sketches to refer to. What did they notice about all of them? The people wearing them covered the heads completely – you couldn’t see any part of the wearer’s eyes or face.

Then, lay out all the maps and travel guides and get pupils to select maps and images from the travel guides to be part of their masks. Some children may need some help with this in tearing the pages from the books without ruining them.

So that the masks fit the children’s heads, you could create a head band that they can use to add the torn pages to secure to, so that the masks fit their heads. Then, ask pupils to be as creative as they want to. Explain that they don’t have to fit their heads tightly, that they can add or cut the papers as they like. Ask them to think about the colours in the travel guides and the maps that they use. Can they describe where some of the maps are from? Have they visited any of these countries? What are the images of in the travel guides?

Once they start making the mask, they can look in the mirror to see how their designs are progressing and this will help them to evaluate how their mask is coming along. Are they happy with their end result? Would they add anything to them? If they did the task again, would they do anything differently? When all the masks have been made, get the pupils to wear them and take a photograph of their finished products. They could even parade them like in a carnival – if they can see out of them adequately.

Create a display of the children’s carnival masks, the class photograph that you have taken, alongside images of work by the KRAN students at Adam Chodzko’s exhibition and/or examples of other Carnival Masks. i.e. from Rio or Notting Hill Carnival. 05

KS1: NUMERACY WORK PLACE VALUE (see KS1 Place Value worksheet at back of pack)

(This work is linked to Adam Chodzko’s interest with the value of ‘place’ and meaning) Group work or pair work (according to level of group/class)

Ask pupils to select 5-6 objects that are in the classroom. Then, place 3 different approximate costs onto these for them to choose from, i.e. Classroom chair – 50p, £5 or £50. Pupils to select which one they think is the closest estimate to the correct cost. Ask pupils to do this for the 5-6 objects that they have chosen.

Then, place the given estimated costs into ascending order, cheapest item first and most expensive last. Get groups to check each other’s work. Can they add up the total cost? What change might they get from £100?

How many 100s, 10s and 1s are there in each number? Can they use hundreds, tens and ones blocks to represent each amount? Use these if resources are available. Or, use this interactive learning tool: www.mathelearningcenter.org/web-apps/number-pieces/

Finally, compare ‘value’ with ‘cost’ - ask pupils to select which out of the 5 items they place the most value on. (cross-curricular with PSHE) Which item would they not like to be without for a day? This could lead to class/group discussions about the value of items that cost less, i.e. a pencil to be able to write with, as opposed to an Interactive Whiteboard, etc. Get groups to compare what they have chosen as having the most value to them personally. Oral recount of how they might cope for a day if they didn’t have a chair to sit on, etc. KS1: LITERACY WORK TO DESIGN A PRIVATE VIEW INVITE CARD OR A POSTER FOR AN ART EXHIBITION (cross-curricular with ICT) (see KS1 Literacy worksheet Sentences about Adam Chodzko)

Show students examples of past invites to Sidney Cooper Gallery and/or other art exhibitions. Ask them what information is essential for visitors to know where and what time they should arrive: Date, time, venue, what will be on offer, i,e., who will be giving a speech, free drinks, nibbles etc., an image of the artwork on display, etc. Look at the Private View invite that one of the KRAN students made to give them some ideas. Put some images up on the Interactive Whiteboard, or print these off so that students have some visual images to use. This could include a map of where to find the gallery and where nearest parking is, etc.

PRIVATE VIEW INVITE DESIGN DOS AND DON’TS:

Do: • Look at examples of other Private View invites to get some ideas • Remember to say where, when and what time the event will be • Use an image to attract people’s attention • Say who will be there, i.e. the artist’s name • Keep the amount of writing to a minimum – be brief!

Don’t: • Make your writing so small that people can’t read it. • Forget to put the correct date and time • Leave out the important details • Send out the Private View invite on the same day as the event!

Get students to check one another’s to see if all the information is present and correct.

The best ones could be awarded a prize and displayed alongside the Carnival Masks, world map of places they included, place value work, their gallery sketches and images of Adam Chodzko’s work. 07

BEFORE VISITING THE GALLERY/EXHIBITION:

If time allows, read the background information about Adam Chodzko from the recent interview with him in September 2015 and the questions that KRAN students asked him. This could be used as a general comprehension or a shared reading activity. Get students to write down what sort of art they think they might see in the gallery. Do they think they will like it?

EXAMPLE OF HOW WEAVING BRANCHES WILL BUILD UP TO CREATE A SCULPTURAL SCREEN

Before visiting the gallery, ask KS2 students to list as many different art forms that they can think of in their sketchbooks/notebooks. As they tour the gallery, get them to tick off the art forms that they see of Adam’s on display. What type of art forms did they not see? Get students to make notes and sketches in their sketchbooks so they can refer to these later on. KS2: TO CREATE A SCULPTURE WITH OLD BRANCHES OR WICKER (cross-curricular with Numeracy and Science)

ART AND DESIGN PROGRAMME NATIONAL CURRICULUM SUBJECT CONTENT:

Key Stage 2 To create sketch books to record their observations and use them to review and revisit ideas To improve their mastery of art and design techniques, including drawing, painting and sculpture with a range of materials (for example, pencil, charcoal, paint, clay) To learn about great artists, architects and designers in history

RESOURCES:

• About 25 branches (supple and ‘green’ wood – recently cut) of about 6’ high, they can have lots of smaller branches on them but the leaves should be removed. The maximum diameter should only be about 2cm. • About 30 branches of about 3’ high, they can have lots of smaller branches on them but the leaves should be removed. Maximum diameter should be about 1cm. • A few pairs of secateurs/pruning shears - to snip off more wayward branches. • Cable ties; ideally a lot of different colours and different lengths. • Flip chart/pen or white board • Protective goggles and garden gloves( for those using secateurs)

TO CREATE THE SCULPTURE:

Explain that the students will make a structure using branches and coloured cable ties. The structure is simple and fun to make and involves a bit of manual dexterity to do the weaving and consideration of composition to make the structure look good - not too symmetrical and regular. One group can make one half…and then show the other group how to weave into it to cover the second half.

If each person in the group is allocated around 4 branches then they can all feel they are contributing part of the structure, which means those who might be a bit shy can also be part of it. Using the coloured cable ties, distribute the colours randomly and ensure that the branch weaving is random to create the sculptural effect. When students think the structure is strong enough, stand it up against a wall to observe if there are any spaces that might need some more branches woven in. Ask what angles they can see.

When it is completed, stand it up against a wall and use a light to illuminate the work – this will highlight the irregular shadows that the branches will cast onto the wall. 09

KS2: NUMER AC Y PLACE VALUE (See separate KS2 Place Value Quiz at back of pack)

Ask pupils to estimate the cost of 5-6 objects that are in the classroom, i.e. Interactive whiteboard, table, chair, bookshelf, window and an exercise book, etc. Get pupils to record their estimates and to then use the Internet to research the approximate costs and record revised amounts in a column alongside their original estimates. Ask pupils to list these in ascending order.

Then, using these amounts, write 1 and 2 step written word problems involving all four operations. For example:

A class of 30 pupils requires 2 exercise books each. How much will it cost the school to provide these?

If each class in your school needs a new Interactive whiteboard every 5 years, how much will the school need to put aside in the budget to pay for this?

Get groups to check each other’s work. Can they add up the total cost? What change might they get from a given amount, i.e. £1,000?

Finally, ask pupils to select which out of the 5 items they place the most value on. Which item would they not like to be without for a day? This could lead to class/group discussions about the value of items that cost less, i.e. a pencil to be able to write with, as opposed to an Interactive Whiteboard, etc. Get groups to compare what they have chosen as having the most value to them personally. Oral recount of how they might cope for a day if they didn’t have a chair to sit on, etc.

ADAM CHODZKO ARK EYE, 2015 KS2: LITERACY WORK TO STAGE A CLASS DEBATE ABOUT PAST, PRESENT AND FUTURE, BASED ON WATCHING GREAT EXPECTATIONS FILM (see separate KS2 letter writing worksheet at back of pack)

BEFORE WATCHING THE DOCUMENTARY HERE ARE SOME DISCUSSION POINTS TO CONSIDER:

Great Expectations is a mixture of a documentary and animated film. What do you know about documentaries? What other documentary films have you seen? Do you think that documentaries always tell the truth? Should they represent more than one side to a story?

A Documentary film is a film that tries to document reality. It records real life and presents information as factual. Documentary films can be described as ‘real-life’ or ‘non-fiction’.

To watch Great Expectations: https://vimeo.com/adamchodzko/videos/page:1/sort:date

After watching the documentary:

What did you like/dislike about the documentary? Why?

What does the film teach you? Did you learn anything new?

Do you think the documentary was an effective way of sharing information? Compare it to non-fiction books or internet sites. Which do you prefer and which do you think is the most effective?

CLASS/GROUP DISCUSSION:

How have tools and furniture changed since the last century and how might they change in the future? Compare Great Expectations and Ark Eye and think about which one involved more skill to make? If your father gave you a similar gift what would you do? What do upholsterers and cabinet makers do? Are these jobs still prevalent today and will they be in the future?

FURTHER INFORMATION AND WORKS BY ADAM CHODZKO CAN BE FOUND AT THE FOLLOWING:

www.adamchodzko.com

www.marlboroughcontemporary.com

http://hoodwink.org.uk/where/adam-chodzko-in-medway

https://vimeo.com/adamchodzko/videos/page:1/sort:date 11

OTHER POSSIBLE NATIONAL CURRICULUM LINKS WITH ADAM CHODZKO’S WORK:

NUMERACY – lines of symmetry, rotational symmetry, asymmetry, tessellation, place value, angles, telling time, 2D/3D shapes, number sequences, codes, probability, function machines.

LITERACY – past, present and future tenses, Idioms and metaphors, reading signs, adjectives and adverbs, onomatopoeias, homophones, designing posters, mnemonics, creative story writing, writing adverts, legends, and debates on the function of museums, Great Expectations, Charles Dickens

ART – sculpture, video art, printmaking, drawing, installation, photography, illustrations, album cover art, perspectives

DT – mask making, making signs, designing music album covers, illustrating books

ICT – Internet research. Creating asymmetrical patterns, Microsoft Office – invitation invites

MUSIC – creating sound effects and sounds to accompany onomatopoeias, explore how music can accompany different art forms

HISTORY – history of museums, local history, war codes, history of hop collecting in Kent, ‘Golden Age’ book illustrators like Arthur Rackham, changes in agricultural work, history of tools

GEOGRAPHY – map reading/creating maps of places within school, compass points, grid references, locating Kent – counties in Great Britain, studying landscapes – especially in Kent

PE – creating new team games

SCIENCE – forces, movement, colour, material properties - transparent, translucent and opaque materials, shadows, sound, solar system

PSHE – identity, dealing with change, communities, special places, community groups, different spaces – domestic versus public, relationships, rituals and ceremonies, different career options, working holidays, i.e. hop picking

RE – Roman Catholicism, churches/cathedrals with stained glass art illustrations

MFL – Polish, Romanian, Arabic, Eritrean, African, Latin, i.e. - ‘Ave, mater angliae’= ‘Hail mother of England – motto of Canterbury, etc. Sidney Cooper Gallery

FURTHER INFORMATION:

For more information about The Sidney Cooper educational programme please contact

Learning and Engagement Officer, Frances Chiverton, on 01227 767700, ext. 1752 [email protected] or, visit the Sidney Cooper website on: www.canterbury.ac.uk/sidney-cooper/

KS2 NUMERACY – PLACE VALUE MULTIPLE CHOICE QUIZ

1. Which number is the same as seven 5. Which number is the same as sixty-three thousand and two? thousand and eight? 702 63, 800 7020 63, 008 70202 630, 008 7002 63, 080

2. What is the value of the 3 in the 6. What is the value of the 8 in the number 73, 915? number 9.085? 30 thousand 8 units 3 hundred 8 hundredths 3 thousand 8 thousandths 3 hundred 8 hundreds

3. Which number has 4 units, 7. Which number is the same as 3 thousands and 5 tens? fifty-six thousand and four? 3, 054 56, 400 3, 453 56, 040 43, 435 560, 004 34, 504 56, 004

4. Which number is forty thousands, 8. Which number is thirty thousands, two units and three tens? two units and six tens? 40, 230 30, 062 40, 032 30, 602 42, 330 30, 206 4, 320 30, 026

ANSWERS:

1. D, 2. C, 3. A, 4. B, 5. B, 6. B, 7. D, 8. A. Sidney Cooper Gallery

KS1 NUMERACY - PLACE VALUE WORKSHEET

Help Adam Chodzko to balance the weighing scales by cutting out the unit weights and putting the right number onto these 3 scales.

333 212

139

100 10 10 1 1 1 100 10 10 1 1 1 100 10 1 1 1 100 10 1 1 1 100 10 1 1

ANSWERS:

3 x 100, 3 x 10 and 3 x 1 = 333. 2 x 100, 1 x 10 and 2 x 1 = 212. 1 x 100, 3 x 10 and 9 x 1 = 139. Sidney Cooper Gallery

FACT-FINDING WORKSHEET

How much do you know about the Sidney Cooper Gallery? You will need to look both inside and outside the gallery to find the answers.

MATCH THE QUESTIONS BELOW TO THE ANSWERS 1. When was Thomas Sidney Cooper born? 2. How old was Sidney Cooper when he died? 3. What is Sidney Cooper’s full name? 4. When did Sidney Cooper found the art school? 5. What type of paintings was Sidney Cooper famous for? 6. What material is the memorial plaque made from? 7. Are there any paintings by Sidney Cooper in the Sidney Cooper Gallery? 8. Where is the nearest place that you can see artworks by Sidney Cooper? 9. How old was Sidney Cooper when he painted his last piece? 10. Where can Sidney Cooper’s last painting be viewed? 11. What nationality was Sidney Cooper? 12. What does the Latin phrase outside the gallery say and mean? 13. Where, in the gallery, will you find the answers to most of these questions? 14. Is the Sidney Cooper gallery open on Sundays? 15. Do you have to pay to get into the gallery or, is it free? 16. Who was one of the art school’s most famous students?

ANSWERS: The Beaney House of Art and Knowledge, Canterbury It says: ‘Ave, mater angliae’= ‘Hail mother of England’ – the motto of Canterbury. He was famous for painting cattle Mary Tourtel, who created Rupert the Bear British No It’s free admission The Beaney House of Art and Knowledge, Canterbury 26th September 1803 99 On the bronze metal plaque above the doorway 99. He Died 7 February 1902 1st June 1882 Bronze/metal No Thomas Sidney Cooper Sidney Cooper Gallery

KS1 LITERACY – SENTENCES ABOUT ADAM CHODZKO

Unscramble the 10 sentences below about Adam Chodzko so that they make sense:

1. Chodzko artist is a Adam British. 2. with his family Whitstable in lives he. 3. Colours favourite his electric blue are olive green and. 4. His artwork in are often his sons. 5. Polish his father and was his Scottish mother is. 6. Straight away early he wakes and starts up work. 7. Likes chips he. 8. Family happy being with his makes him. 9. 5 years started he at old school. 10. Job he his likes.

ANSWERS:

1. Adam Chodzko is a British artist. 2. He lives with his family in Whitstable. 3. His favourite colours are electric blue and olive green. 4. His sons are often in his artwork. 5. His father was Polish and his mother is Scottish. 6. He wakes up early and starts work straight away. 7. He likes chips. 8. Being with his family makes him happy. 9. He started school at 5 years old. 10. He likes his job. Sidney Cooper Gallery KS2 LITERACY – LETTER WRITING ACTIVITY: WRITE A LETTER TO ADAM CHODZKO

Choose one of the artworks that you have seen in the Sidney Cooper Gallery exhibition, Design for a Fold, and write a letter to Adam Chodzko to tell him what you think about his art.

Complete the multiple choice quiz questions to help you start writing your letter. Pick the answer that you think is the best out of the four different options.

1. Your address needs to go in the: Top left hand corner In the middle of the page At the end of the letter In the top right hand corner

2. The date should go: Straight after writing ‘Dear/Sir/Madam’ Just before you sign it at the end of the letter After ‘yours sincerely’ Under the address in the top right hand corner

3. To start the letter to Adam you will use: Dear Mrs Chodzko Dear Adam, My dearest Adam Dear Sir/Madam

4. As this is a formal letter, the best way to start the letter is to: Say why you went to the gallery Say why you are writing the letter Say what the weather is like today Say that you hope the person is well and happy

5. To end this formal letter, as you know the person’s name, you should use: Lots of love and kisses Yours sincerely Yours faithfully Yours lovingly

6. However, if you didn’t know the person’s name, you would end it with: Lots of love and kisses Yours sincerely Yours faithfully Yours lovingly

Remember to tell Adam Chodzko the title of the piece of art that you liked and why and what you particularly liked about it. How did it make you feel? Did you want to know more about the artwork – if so, what would you like to ask Adam about it?

ANSWERS:

1. D, 2. D, 3. B, 4. B, 5. C, 6. C.