Heide Sculpture Park Discovering Art in Outdoor Spaces

HEIDE EDUCATION

Heide Sculpture Park Discovering art in outdoor spaces

Anish Kapoor Inge King In The Presence of Form II 1993 (Foreground) Rings of Saturn 2005-2006 (Background) carved Portland stone stainless steel 174 x 170 x 110 cm 450 x 450 x 450 cm Untitled 1993 (Front) Heide Museum of Modern Art carved limestone and pigment 52 x 90 x 70 cm Heide Museum of Modern Art

This Education Resource has been produced by Heide Museum of Modern Art to provide information to support education institution visits to Heide Museum of Modern Art and as such is intended for their use only. Reproduction and communication is permitted for educational purposes only. No part of this education resource may be stored in a retrieval system, communicated or transmitted in any form or by any means.

Sculptures in the Park

Dennis Oppenheim (1953–2011) Basket and Wave (From Dreams and Nightmares. Journey of a Broken Weave) 1984 Materials:

______488 x 549 x 792 cm Heide Museum of Modern Art Gift of the artist and Diana Gibson 1985

Current location: Connie Kimberley Sculpture Park

At the establishment of Heide as a public park and museum in 1981, the concept of a Sculpture Park was given priority by Heide's Trustees and the Museum's inaugural director Maudie Palmer. Displaying sculptures throughout the park would take full advantage of the Museum's unique location within the landscape. The founding Chairman of Heide Norman Wettenhall wrote in 1981 "The landscape is an integral part of Heide and most important in its ethos. It provides the opportunity and responsibility to develop a gallery in a setting, the like of which is rare anywhere in the world'.

Inspiration was taken from international sculpture parks visited by Palmer during the early 1980s including the Kröller-Müller Museum in Otterlo, the Netherlands; Louisiana Museum in Humlebæk, Denmark; Storm King in the state of New York, USA; and the gardens of the Maeght Foundation in Saint-Paul-de-Vence , France. In 1981, two outdoor works placed within the grounds by John and Sunday Reed remained: Ron Upton's Three Forms (1964) and David Tolley's Man/Woman (c.1966) and these provided a starting point for the development of the sculpture park which today has over thirty pieces.

The main focus for outdoor sculpture was on Australian art but with the selective inclusion of significant works by international artists. In 1985 Palmer commissioned renowned American artist Dennis Oppenheim to make a large work for the park called Basket and Wave (from Dreams and Nightmares. Journey of a Broken Weave) (1984). A site was carefully chosen for the work, midst a clearing surrounded by tall trees.

Sue Cramer Heide Curator

Fiona Hall A Native Rockery Garden 2009 Looking at the sculptures, their labels and surrounding environment answer the following questions and fill in the missing details.

Fiona Hall (1953—) A Native Rockery Garden 2009 Materials:

______variable dimensions Heide Museum of Modern Art

Current location: Tony and Cathie Hancy Sculpture Plaza

Circle the words that best describe this sculpture: smooth even hollow polished colourful irregular dull pointy energetic bright abstract rough realistic slick grimy hard round grainy lifeless organic hairy abrasive itchy natural solid List some other words: ______

How has and will weather and the passage of time changed A native rockery garden’s appearance? Does it made the sculpture more interesting or not? How might it look in 20 years from now?

This sculpture requires different care to other sculptures at Heide. How do you imagine that Heide takes care of and maintains this artwork? Does this alter our understanding of what can be called art? Do you think this artwork could be moved to another site? How?

In this artwork Fiona Hall acknowledges John and Sunday Reed’s commitment from the early 1960s to plant only native species on the property. Hall researched the Reeds’ library and considered their interests in the work of influential historical gardeners such as Edna Walling, and international figures Eleanour Sinclair Rohde, Vita Sackville-West and Gertrude Jekyll.

These are some of the plants Fiona Hall has used in this garden; Banksia blechnifolia, Eremophila glabra 'Kalbarri Carpet', Grevillea linearifolia weeping, Lasiopetalum indutum, Casuarina glauca prostrate, Eucalyptus caesia (Silver Princess), Leucophyta brownii (Cape le Grande), Lomandra glauca (Aussie Blue Grass), Xanthorrhoea johnsonii, Leucophyta brownie, Themeda triandra 'Mingo' (Kangaroo Grass), Actinotus helianthi (Flannel Flower), Geleznowia verrucosa and Swainsona formosa (Sturt's Desert Pea), Anigozanthos 'Bush Diamond' and Anigozanthos 'Bush Fury' (varieties of Kangaroo Paw)

Sketch two views to create a map for a garden sculpture in the spaces below.

What sorts of plants would you use? Do they hold special significance to you or other people? What textures and colours would you look for? If you don’t know the names of plants, how could you find them out?

In addition to the sculptural objects and installations for which she is acclaimed, Fiona Hall has made some temporary and permanent gardens which reflect her interest in botany and its evolutionary, social and political histories. Environmental fragilities and our increasingly fractured relationship with the natural world are concerns which underpin much of her work.

Fiona Hall’s garden is the second artist’s garden commissioned by Heide, the first being the now well established Karakarook’s Garden (2005-06) by Lauren Berkowitz which is located near the Oak tree at the back of Heide I.

Neil Taylor Theoretical Matter 1999-2000 Looking at the sculptures, their labels and surrounding environment answer the following questions and fill in the missing details.

Neil Taylor (1945—) Theoretical Matter 1999-2000 Materials:

______304 x 390 x 320 cm Heide Museum of Modern Art Mapping and Reflection: A Garden Transformed, initiated through Arts Victoria's Victoria Commissions Program, funded by the Community Support Fund of the Victorian Government

Current location: Connie Kimberley Sculpture Park

This sculpture was constructed by one person with the help of an engineering firm who bent the steel. Describe the materials and techniques used to construct this work. Where else have you seen these materials used?

Can you see a natural form in the surrounding environment that resembles this sculpture? What is it? What are the similarities? What are the differences?

How has weather and the passage of time changed its appearance? Has it made the sculpture more interesting or not?

Do you think the care and preservation of this sculpture is an issue for Museum staff or for visitors? Why or why not? What is the job title of the person who looks after art works in a museum?

If you were given a total budget of $1,000 per year to maintain this sculpture, decide which of the following services you would purchase for next year. Provide reasons for your choice.

SERVICE RECOMMENDED COST YES/NO REASON

Surface clean Every 6 months $200

Trim surrounding Every 3 months $100 hedges Coat with Once per year $1,000 rustproof sealer Remove wooden Every 4 months $200 debris Total costs to maintain this sculpture over a year: $_____

As a student Neil Taylor was interested in American Abstract Expressionist painting and started working with grids and colour patches. Taylor became increasingly frustrated with paint as a medium – ‘it yields so readily’. He wanted to use his ‘full strength, rather than just a wrist action with painting’, so switched to sculpture. He likes the ‘toughness’ of the materials he uses – ‘I struggle with them – it's like the mind, lively, engaging, suggestive, evocative every minute’.

This is one of two works commissioned under the title ‘Mapping and Reflection: a Garden Transformed’, the other work being Stein Path by Janet Burchill. Stein Path is the same length as the holly hedge and runs along its southern side. The hedge was planted by John Reed, Sunday Reed and Sidney Nolan in 1946 to protect the bird life from Sunday Reed’s cats. The location of Theoretical Matter , close to the northern side of the hedge, led the artist to refer to it as an ‘industrial holly hedge’. The two works can be thought of as mapping and reflecting the hedge.

Theoretical matter was constructed in a warehouse, which was a ‘big, grimy industrial space’, and according to the artist, ‘it felt right there’. But when the sculpture was moved to Heide's garden setting, Taylor was surprised by how its ‘rhythms’ and ‘perforated quality worked comfortably with the surrounding foliage’.

Rick Amor Running Man 1996-2005 Looking at the sculptures, their labels and surrounding environment answer the following questions and fill in the missing details.

Rick Amor (1948—) Running Man 1996-2005 Materials:

______180 x 175 x 65 cm Current location: Connie Kimberley Sculpture Park Heide Museum of Modern Art Purchased with funds donated by an anonymous donor and Christine Collingwood 1995

Current location: Connie Kimberley Sculpture Park

Make the pose that the figure is in, with your own body. Describe how it feels to stand like this. Do you this these feelings are expressed in the final artwork? How is texture and material related to this emotional state?

The running figure is a signature motif in Amor’s work. It was originally painted in 1983-84 and has subsequently been reworked many times in paintings, woodcut prints, small maquettes and larger cast figures. Looking at the location of this figure, what do you think Running Man is running to or away from?

The technique used by Rick Amor to create this sculpture is called the ‘lost wax’ method, which is outlined below: i. Sculpture is made from plaster (clay or wax can also be used). ii. Plaster mould, inlaid with latex, is created in sections from the sculpture. iii. Plaster mould is assembled; wax poured into mould creating a wax layer a few centimetres thick; plaster mould is removed to reveal a perfect copy of the original sculpture in wax.

iv. Hollow wax sculpture is coated in liquid ceramic slurry; when dry, this becomes a ceramic mould, impenetrable by heat. v. Molten bronze is poured into the ceramic mould replacing and burning out the wax. vi. When cooled, the ceramic shell is chipped away revealing a bronze sculpture that is ﬁnished and sealed.

The following images of the lost wax method are not in order. Please number them correctly.

Originally Running Man was placed at ground level thus appearing to be literally running through the grass. However the artist changed the base in 2005. Amor explained his decision to remake the base: ‘I was never quite happy with the base or the supporting leg so I reworked the leg in plaster and then it was recast and reassembled. The base was (originally) square, now it is a longer base and the figure is slightly off-centre. It gives the figure more of a forward movement and the steel box it sits on raises the figure enough to give it more presence and bit more drama – to take it a little bit out of our world.’ Rick Amor, The Age, 24 May 2005

Imagine what the work was like to view when the figure was at ground level. Describe some of the differences.

Rick Amor was raised near the beach on Long Island, Frankston, Victoria. He displayed an early talent for drawing and painting, and enrolled in a Certificate of Art course at Caulfield Institute of Technology in 1964. In 1966 he began an Associate Diploma of Painting at Melbourne’s National Gallery School, where he was taught by John Brack, Ian Armstrong, Murray Walker and Marc Clark. In the 1970s Amor began his professional career as an artist, also working as a cartoonist and book illustrator to support his art. He produced many posters, banners and cartoons for the Australian Labor Party and Trade Union movement, and his illustrations featured in novels, children’s books and magazines such as Overland .

Since his first exhibition at the Joseph Brown Gallery in 1974, Amor has held over 50 solo exhibitions, showing annually at Niagara Galleries, Melbourne for more than twenty years. Several Australia Council studio residencies have allowed the artist to work in London, New York and Barcelona, and in 1999 he was appointed the official war artist to East Timor by the Australian War Memorial.

Anthony Caro Sidestep 1971 Looking at the sculptures, their labels and surrounding environment answer the following questions and fill in the missing details.

Anthony Caro (1924—) Sidestep 1971 Materials:

______130 x 230 x 165 cm Heide Museum of Modern Art Gift of Tom and Sue Quirk 1998

Current location: Connie Kimberley Sculpture Park

Can you see an architectural form in the surrounding environment that resembles this sculpture? What is it? What are the similarities? What are the differences?

Sidestep is a sculpture which celebrates the use of steel in the Industrial Age and is to be viewed from a number of angles. Identify two of the shapes created in the negative space as you move around the sculpture and draw them.

Describe the materials and techniques used to construct this work. Where else have you seen these materials used? Do the materials relate to other sculptures you have seen at Heide? Which ones?

What if the works were carved in another material, for example, stone or timber? Would they be as successful? Why or why not?

Caro is considered to have developed a new sculptural aesthetic by challenging the tradition of displaying sculptures on a pedestal. Instead of elevating his sculpture on a plinth, he placed them directly on the ground, at the same level as the viewer. For him, this was a way of more directly engaging the viewer in an experience of the work. In what way would Sidestep be different if it was mounted on a plinth? Would we need to move our bodies in a different way to view the work? How would that impact on our understanding of the work? Why do you think the work is titled Sidestep ?

Anish Kapoor In the Presence of Form II 1993 and Untitled 1993 Looking at the sculptures, their labels and surrounding environment answer the following questions and fill in the missing details.

Anish Kapoor (1954—) In the Presence of Form II 1993 Materials:

______174 x 170 x 110 cm

Untitled 1993 Materials:

______52 x 90 x 70 cm Heide Museum of Modern Art Acquired through the Georges Mora Foundation with funds donated by the Victor Smorgon Charitable Trust

Current location: Tony and Cathie Hancy Sculpture Plaza

What do the shapes of these sculptures remind you of?

Throughout his career Anish Kapoor has explored what he sees as deep-rooted metaphysical polarities: presence and absence, being and non-being, and the solid and the intangible. Many of his sculptures, like those at Heide, are made of solid stone with carved apertures and cavities. In In Presence of Form II, a curved egg-shaped form nestles within a cavity, its smoothness contrasting with the roughness of the sculpture’s outer surface. The Kapoor works are two of Heide’s international sculpture acquisitions which include works by John Atkin, Anthony Caro and Dennis Oppenheim.

Inge King Rings of Saturn 2005-2006 Looking at the sculptures, their labels and surrounding environment answer the following questions and fill in the missing details.

Inge King (1918—) Rings of Saturn 2005-06 Materials:

______450 x 450 x 450 cm Heide Museum of Modern Art Commissioned through the Heide Foundation with significant assistance from Lindsay and Paula Fox 2005

Current location: Sir Rupert Hamer Garden

Are the materials Inge King has used to make Rings of Saturn easy to maintain? Are they durable and hard wearing? Where else you have seen these materials used?

Inge King considers her art to be ‘non-representational’ not abstract. Is the title of this work important to the way we understand it? How does it influence what we think about this sculpture?

Inge King is one of Australia’s most eminent sculptors. She attended the Berlin Academy of Fine Art from 1936 to 37 and lived in Glasgow 1939 where she had an awareness of Henry Moore’s work. In the late 1940s, prior to moving to Australia to marry artist Graeme King, Inge King lived in New York where she mixed in the circles which included Mark Rothko, Barnett Newman and Walter Gropius.

This work was enlarged to the artist’s specifications from a maquette. Prior to making a maquette, King creates very small craft board models. She prefers to use maquettes and models rather than drawings to work out her ideas as she feels drawings inhibit her process. Rings of Saturn comprises four intersecting rings and semicircular sections. The dynamic forms and play of light on the surface suggests movement. The material, stainless steel, is an essential part of the concept. The brushed surfaces create a scintillating effect, forever changing with the rotation of the sun. A dramatic effect is achieved by lighting the sculpture at night.

Ronald Upton Stages 1, 2 & 3 1981 Looking at the sculptures, their labels and surrounding environment answer the following questions and fill in the missing details.

Ronald Upton (1937—) Stages 1, 2 &3 , 1981 Materials:

______239 x 126 x 83 cm, 180 x 122 x 80 cm, 162 x 100 x 56 cm Heide Museum of Modern Art Purchased from John and Sunday Reed 1980

Current location: Connie Kimberley Sculpture Park

Draw the sculptures in order:

Why did you choose number 1?

As a drama activity, work with your group to make a human sculpture. Choose one of the three stages and recreate it using the people in your team.

Think of a song title that you could use to name or describe your sculpture.

Name at least two ways weather and time might have changed the appearance of these sculptures.

Do you think these sculptures fit into their environment? What are your reasons?

Ronald Upton lives and works in outer Melbourne. His interests cross sculpture, painting, drawing, and printmaking. Works in the 1960s integrated experiments with materials to create light and colour in form.

The skeleton or ‘armature’ for this artwork was constructed from steel rods and chicken wire, the figure is modelled by trowelling the ciment fondu over this substructure. Newspaper was used to provide support during the modelling. The ciment fondu is quick-setting, requiring the artist to work quickly and surely because there is little opportunity for reworking or repair. The finished surface is resistant to minor knocks and abrasion. A range of surface finishes can be obtained, including a powder pigment to give the surface a bronze-like appearance.

The placement of the figures, both relative to each other and to the surrounding landscape, is significant. The viewer is able to move around and between the figures, observing the changing shapes and spatial relationships between the figures themselves and their surroundings. Such an experience of three-dimensional form is particular to sculpture and not available to the viewer of paintings.

Jeff Thomson Cows 1981 Looking at the sculptures, their labels and surrounding environment answer the following questions and fill in the missing details.

Jeff Thomson (1957—) Cows , 1981 Materials:

______Various dimensions, 119 x 192 x 91cm Heide Museum of Modern Art Purchased 1987

Current location: Connie Kimberley Sculpture Park

These sculptures embody the spirits of Cappuccino and Espresso, two of the dairy cows owned by John and Sunday Reed when they lived at Heide I. Legend has it that when the Reeds’ cows died, each was buried with an acorn from the oak tree near Heide I. Look around you. What evidence can you find that might support this story?

Look at the materials and methods used by Jeff Thomson to create this artwork. How have the materials been reconfigured, manipulated, coloured? Are the materials new or old? What construction methods have been used?

How suitable do you think Thomson’s choice of materials is for this particular work? Why?

Imagine if Heide decided to relocate Jeff Thomson’s Cows to Federation Square, opposite Flinders Street Station. Do you think this would be a good idea? Explain why. Can you think of another suitable location or environment for these artworks?

Imagine if you were to adopt a cow and give it a name. Look carefully at your cow for its individual and distinctive characteristics. Invent your own myth or story about your cow. Create a role play to act out your cow myth.

Who is it about?

What happened (what's the story)?

When did it take place?

Where did it take place?

Why did it happen?

How did it happen?

Jeff Thomson currently resides in Helensville, NZ, where he has a studio and works as a full-time artist. Jeff is best known for sculpting with corrugated iron. These cows were part of a larger herd of 15 cows made in Hawke’s Bay, New Zealand and exhibited at Heide in 1987. These cows also remind us that the property, prior to being owned by the Reeds was a dairy farm.

Jeff Thomson also made a corrugated iron HQ Holden Stationwagon 1991-92 with its radio aerial bent into the shape of Australia, which he drove around Australia and New Zealand for three years, before leaving it at Museum of New Zealand Te Papa Tongarewa.

Other sculptures to look for at Heide

Paul Hopmeier (1949—) Savage 1982 imperite, cold zinc and steel 193 x 214 x 93 cm Heide Museum of Modern Art Purchased 1983

Current location: Heide I Garden

Lenton Parr (1924–2003) Untitled 1970 welded steel, enamel paint 215 x 167 x 120 cm Heide Museum of Modern Art Gift of Trevor and Christine Tappenden 2004

Current location: Heide I Garden

Alex Selenitsch (1946—) Tree of Knowledge Circa 1989 painted, laminated timber 214 x 122 x 11 cm Heide Museum of Modern Art Bequest of Barrett Reid, 2000

Current location: Heide I Garden

Other sculptures to look for at Heide

David Tolley (1936—) Lady in Waiting 1966 ciment fondu 183 x 150 x 90 cm Man/woman Circa 1966 cement fondu 193 x 125 x 90 cm Heide Museum of Modern Art Purchased from John and Sunday Reed 1980

Current location: Connie Kimberley Sculpture Park

Andrew Rogers (1947—) Meridian Foundries Unfurling 2006 bronze 270 x 125 x 125 cm Heide Museum of Modern Art Gift of the artist 2008

Current location: Connie Kimberley Sculpture Park

Janet Burchill (1955—) Stein path 1999-2000 fired terracotta bricks 10 x 30 x 3640 cm Heide Museum of Modern Art Mapping and Reflection: A Garden Transformed, initiated through Arts Victoria's Victoria Commissions Program, funded by the Community Support Fund of the Victorian Government

Current location: Connie Kimberley Sculpture Park

Supporting Education Programs Heide Education is committed to providing a stimulating and dynamic range of programs for students and educators at all levels to complement Heide's exhibitions, collection, history and gardens. Programs range from tours and art-making workshops to intensive forums with artists and other arts professionals. Designed to broaden and enrich curriculum requirements, Heide’s programs and online resources aim to inspire a deeper appreciation of art and creative thinking.

School Excursions:

Exploring & responding tours Educational tours are tailored to meet individual student group capabilities and needs across all year levels from K-12. This can be taken as a stand-alone excursion or combined with a Creating and making workshop (see below for more information).

Heide History Students learn about Heide’s unique history as the birthplace of Melbourne modernism with guided tours of the 16 acre site, including the famous ‘scar’ tree, Heide I heritage-listed farm-house and Heide II modernist architecture, the Sculpture Park and Kitchen Garden. Students discuss John and Sunday Reeds’ art patronage, the lives and practices of the artists known as the Angry Penguins, Sidney Nolan, Albert Tucker, Joy Hester, Arthur Boyd and John Perceval.

Heide Collection Looking at highlights of the Heide collection displayed in Heide II, students gain an insight into the Australian modernist art movement through to contemporary art practice. Students will be provided with an immersive experience and opportunity to analyse and discuss the ways in which artists from different times have created aesthetic qualities in artworks, communicated ideas and developed styles.

VELS: Personal learning, thinking processes, civics and citizenship ARTS DOMAIN: Exploring and responding VCE ART: Analytical frameworks, art and cultural context, interpreting art, discussing and debating art VCE STUDIO ART: Developing and interpreting art ideas, styles and materials. Professional practice, art industry contexts

Creating & making workshops Practical art-making education programs are conducted in the purpose built Sidney Myer Education Centre. Creative programs are tailored to meet student groups’ capabilities and needs across all year levels from K-12. Tasks can be extended or designed to be a collaborative exercise to encourage team building, developing communication and negotiation techniques.

VELS: Physical, personal and social learning, communication, creativity ARTS DOMAIN: Creating and making VCE ART: Art making, cultural expression and personal meaning VCE STUDIO ART: Exploration of materials and techniques

Education Resources

Heide offers online Education Resources to accompany our major exhibitions. These resources are supplementary documents that include artist and exhibition information, colour reproductions of key artworks and exhibition-related questions and activities tailored to the VELS and VCE curriculum. Resources are regularly added to the Heide website and are available at heide.com.au/education/resources.php

Bookings

Bookings are essential for all programs. For more information, visit heide.com.au/education or contact Heide Education: T 03 9850 1500 [email protected]

Teachers are encouraged to visit Heide prior to a booked school visit (complimentary ticket available) to familiarise themselves with the exhibitions and facilities.

Heide is committed to ensuring its programs and activities are accessible to all. Schools recognised as having a low overall socio-economic profile on the Government School Performance Summary are eligible to apply for a reduced fee. Please contact Heide Education for more information.

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