Fourth Plinth Schools Awards Teachers Resource

FOURTH PLINTH SCHOOLS AWARDS TEACHERS RESOURCE

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1 u CONTENTS Contents

Introduction 3 explore 23 ReferenceS 30 Resource aims 4 Visit to Trafalgar Square 24 Other well known sculptors with 32 or to see local public art work you can see in London Using the resource 4 Fourth Plinth sculptors 1999-2017 33 DISCOVER 11 connect 26 Introducing the Fourth Plinth 12 Drawing or modelling initial 27 REsources 36 Schools Awards ideas for the sculpture R1 – Images and Information about 37 Fourth Plinth sculptures 1999-2015 Putting the awards in context: 12 Presenting the sculpture 29 What is the Fourth Plinth? for the awards R2 – Drawing of Fourth Plinth 38 R3 – Fourth Plinth template 39 R4 – The empty Fourth Plinth 40

2 u CONTENTS Introduction

The Fourth Plinth Programme is UK’s most talked about contemporary sculpture prize. Funded by the Mayor of London and supported by Arts Council England, it invites world class artists to create new works for display in Trafalgar Square.

Each year, London schools are invited to enter the Fourth Plinth Schools Awards. The awards give children a chance to get involved with public art and offer new views of London.

Fourth Plinth Schools Awards Winner 8-11 Age Group, with Jeremy Deller. © James O Jenkins.

3 u CONTENTS Resource aims upon and assess their own work. They This resource can be used by teachers should also give constructive feedback and students to develop a design to other students. drawing, sculpture or model (maquette) for the Fourth Plinth Schools Awards. Using the resource It helps students research the ideas, These lesson plans are designed to be methods and approaches artists use flexible. That means you can include, to make works for public spaces. This adapt, or leave out activities – according includes the Fourth Plinth and other to what materials/resources you have public spaces in London. and how much time/interest there is.

It aims to give students a critical and Planning for around four or five sessions cultural understanding of the role of art, is ideal. That’s one or two to introduce craft and design in London by looking the subject, and one to visit Trafalgar at the context in which it is made. Square (or another outdoor space) to This includes the local and global see, record and discuss public sculpture. Thomas Schütte, Model for a Hotel, 2007. © James O Jenkins. environment, London’s audiences Further sessions will deal with learning and the meaning of historical and sculpting techniques like modelling in contemporary public art. clay or using modroc plaster bandage, as well as designing, making and problem- Students are encouraged to watch, solving. Finally, students can review their record, research, make, present, reflect proposed design.

4 u CONTENTS In line with the National Curriculum for Art, Craft and Design this resource gives KS3 students a chance to:

®® produce creative work, exploring their ideas and recording their experiences ®® develop skills in drawing, sculpture and other art, craft and design techniques ®® research and analyse creative works using the language of art, craft and design ®® learn about artists, craft makers and designers, and understand the historical and cultural development of their art forms ®® learn about the history of London and its art works and apply this knowledge in their own creative work

Fourth Plinth Schools Awards at City Hall. © James O Jenkins

5 u CONTENTS Students will also be able to use words ®® sculpture materials: metal, wood, and phrases related to: stone, ceramic, plastic, glass, sound, light, water, plasticine, tape, ®® public sculpture: plinth, monument, cardboard, recycled materials of all statue, bust, memorial kinds, modroc plaster bandage, wire ®® environment: site, position, sense ®® sculpture techniques: construction, of place, location, site specific, carving, modelling, fabrication, scale, viewpoint assemblage, mould-making and ®® what is sculpture: visual elements, casting, additive and subtractive scale, proportion, composition, form, processes volume, surface, colour, texture, ®® composition: viewpoint, perspective, pattern, detail, materials shape, pattern, texture, form, ®® experiencing artworks: sight, proportion, scale, placement touch, sound, scale, proportion, ®® audience: personal response, materials, light memory, meaning, context ®® evaluation: presentation, personal and public opinion, peer evaluation, Elmgreen and Dragset, Powerless Structures, Fig.101. review © Gaultier Deblonde

6 u CONTENTS For practical work you could use: For presentation of a sculpture idea For research you could use you could use a camera, scanner, ®® research and recording – drawing computer for drawing, illustration ®® photographs/postcards, maps, plans materials – pencil, pens, charcoal, software, digital projector of local landscapes featuring public found objects or tools, sketchbooks, artworks, maps and resources crayons for surface rubbings, digital about Trafalgar Square see London tools – camera, sound recorder Curriculum: Art of Walking ®® materials suitable for making a small ®® examples of work by artists who scale sculpture or maquette – clay have created public sculpture (plasticine, air drying or fired), wire, including their research and card, soap, stone, wood, metal, preparation. For example, scrim photographic documentation, ®® found and recycled materials – preparatory sketches, maquettes boxes, cartons, paper plates, ®® For named artists see links below cups, card tubes, plastic bottles, Alison Gill’s pinterest link wood scraps, building blocks, pipe www.pinterest.com/artistinschool/ cleaners, straws, lolly sticks the-fourth-plinth ®® joining materials – sticky tape, sticky pads, glue, thread, wire, cable ties ®® decorating or surface enhancement – paint, stains, inks, varnish or PVA, carving tools

7 u CONTENTS It is helpful if students have:

®® looked at art in public spaces and thought about its impact and purpose ®® researched and recorded ideas/ information from first-hand experience ®® looked at and thought about public art in their own area, in or near school ®® used a sketchbook or other visual/ photographic diary to gather and store information ®® used drawing and painting media to explore texture, pattern, colour and composition ®® used three-dimensional materials and techniques to explore volume and surface ®® learned that creating an artwork is a developmental process ®® reflected upon and changed their own work, and discussed their work Katharina Fritsch, Hahn/Cock, 2013. © Gaultier Deblonde with others

8 u CONTENTS Most students will be able to: Some students will not have made so Some students will have progressed much progress and will be able to: further and will be able to: ®® explore ideas and collect visual information about artworks in public ®® collect information for their work; ®® select visual and other information spaces to help them develop their investigate and use visual materials and use this in developing their work own work and processes to make work ®® manipulate materials and processes ®® use their knowledge and ®® communicate some ideas and to communicate ideas and meanings understanding of materials and feelings about artwork in public about artwork in public spaces, processes to produce an artwork, spaces matching visual and tactile or sound organising and combining ideas ®® comment on similarities and qualities to their intentions and materials to communicate ideas differences between their own and ®® analyse and evaluate ideas, and feelings others’ work methods and approaches used in ®® compare, and comment on, ideas, ®® adapt and improve their work their own methods and approaches used in and others’ work, and relate these to their own and others’ work, and the context relate these to the purpose of the ®® adapt and refine their work to work reflect their own view of its purpose ®® adapt and improve their work to and meaning realise their own intentions

9 u CONTENTS This resource can be used as a Art and Design: The Art of History: World City standalone guide to creating work for Walking – Lesson Plans www.london.gov.uk/sites/default/ the Fourth Plinth Schools Awards. www.london.gov.uk/sites/default/ files/World%20City.pdf It can also be used alongside files/Art%20of%20Walking_ other resources the Mayor has Lesson%20Plans.pdf English: Tales of the River commissioned for the London www.london.gov.uk/sites/default/ Curriculum at KS3. Art of Walking: Primer with files/Tales%20of%20the%20River_0. maps of London areas pdf There is lots of potential for making including Trafalgar Square cross curricular links by putting the www.london.gov.uk/sites/default/ sculpture in the context of English, files/Art%20of%20Walking_Primer. History and Geography London pdf Curriculum Resources, as well as in This resource has information, lesson Art and Design. plans and a map so you can explore Trafalgar Square, its architecture and public art

10 u CONTENTS Fourth Plinth Schools Awards Resource 11

DISCOVER

11 u CONTENTS Introducing the Fourth Plinth until 1999 when the Royal Society of Schools Awards Arts (RSA) announced that a sequence www.london.gov.uk/imagination of three contemporary artworks would be displayed there from 1999-2002. Tell students they will be designing It was so successful, a commission and/or making a model of a sculpture was set up to decide the plinth’s future or drawing for the Fourth Plinth. This use. The commission decided that the should best use of the plinth was to continue express their views on life in London. to show temporary contemporary art Visit: www.london.gov.uk/ commissions. In 2000 the Mayor of fourthplinth London took over management of Trafalgar Square and created the Putting the awards in Fourth Plinth Commission as it stands context: What is the Fourth today. Plinth? The Fourth Plinth sits in the north Read a history of the Fourth Plinth west corner of Trafalgar Square. It is a sculptures at: http://en.wikipedia. platform for an ongoing programme of org/wiki/Fourth_plinth,_Trafalgar_ contemporary sculpture commissions. Square The plinth was originally meant to host an equestrian statue of King William IV. Hans Haacke, Model for Gift Horse, 2014. However, it remained empty from 1841 © Greater London Authority

12 u CONTENTS Discussion activity Practical activity A good starting point for discussion is Look at the previous Fourth Plinth the current sculpture. sculptures: www.london.gov.uk/fourthplinth/ Discussion activity commissions Ask students for their views on the sculpture and what kind of impact they Ask students to pick one or two think it has on Trafalgar Square, in sculptures that appeal to them. They relation to Londoners, tourists, people should then draw the sculptures and / who work there, young people. What or record their responses in terms of might the media response be? subject, materials, why they appeal, and finally share their views

Marc Quinn, Alison Lapper Pregnant, 2000. © Greater London Authority

13 u CONTENTS Discussion activity Ask what happens when sculpture Practical activity Discuss with the group what is comes off the plinth? How does this Ask students if they know of any public a plinth? What does it do to any affect the sculpture’s relationship with sculptures in their local area that are sculpture placed on it? What is its role its audience? on plinths – statues, war memorials, in the context of public art? How does headstones, for example. What putting sculpture on a plinth affect both For many examples of modern effect does this have? Are there any the sculpture and people seeing it? sculpture see: sculptures not on plinths? List and share the responses. http://www.tate.org.uk/art/ artworks?gm=1682 Ask them to collect materials relating Many examples of historical sculpture to these, like photos, sketches, on plinths can be seen in Trafalgar newspaper articles for the next lesson. Square http://Wikipedian/wiki/ List_of_public_art_in_the_City_of_ Useful resources Westminster#Charing_Cross_.2F_ R1 Page 39 lists the sculptures on the Trafalgar_Square Fourth Plinth from 1999 to the present with links to images of the works, Nearby is Maggi Hambling’s A information about the artists, videos etc conversation with Oscar Wilde. It’s not on a plinth Another useful resource is teacher http://en.wikipedia.org/wiki/A_ Alison Gill’s Pinterest board Conversation_with_Oscar_Wilde www.pinterest.com/artistinschool/ the-fourth-plinth

14 u CONTENTS Discussion activity Show students ways that contemporary artists have responded to urban environments by making public sculpture for a specific site, or for a specific context. Sculpture can be permanent or temporary, architectural, useful, or decorative – or a mix of these.

Jeremy Deller, Sacrilege, 2012. © Greater London Authority

15 u CONTENTS Examples Peter Freeman’s light sculptures Anish Kapoor Antony Gormley www.peterfreeman.co.uk ArcelorMittal Orbit, stands in the Angel of the North Olympic Park in Stratford. It is part http://en.wikipedia.org/wiki/Angel_ Ackroyd & Harvey’s work uses sculpture, a memorial of the London of_the_North grass, living plants and other natural Olympic Games, part architecture materials to communicate about – a viewing tower and looks like a Thomas Heatherwick nature and climate change fairground attraction or an industrial Rolling Bridge www.ackroydandharvey.com installation http://anishkapoor. www.heatherwick.com/rolling-bridge com/889/Orbit.html Christo and Jeanne-Claude wrap Peter Randall Page existing objects – buildings – and Yinka Shonibare Exotic Cargo, a sculpture made by change them into something different Wind Sculpture direct carving into stone www.christojeanneclaude.net http://www.howickplace.com/c/ www.waymarking.com/waymarks/ sculpture.php WMHK6B_Exotic_Cargo_Butlers_ Tony Cragg started by using found Wharf_Shad_Thames_London_UK objects and moved on to fabricating sculpture in many materials. Drawing, Jeremy Deller as for Christo and many others is Sacrilege very important for the development www.jeremydeller.org/Sacrilege/ of his ideas Sacrilege.php www.tonycragg.com

16 u CONTENTS Discussion activity ®® purpose and meaning – some ®® architectural sculpture – sculpture Ask students to pick some of these sculptures are memorials, others can be like architecture, it can mark works and discuss how they relate to appear to be for entertainment and a place, give protection – Thomas their contexts. Discuss: decoration but may have other roles Heatherwick’s bridge or Peter and meanings. For example the Freeman’s light pieces ®® location, site, position, sense of fountains in Trafalgar Square appear ®® humour – Jeremy Deller’s Sacrilege place – how do the sculptures decorative, but square architect involves humour but is a serious impact on Sir Charles Barry, said they had comment about national heritage their surroundings? the added role of preventing large and contemporary life ®® scale and viewpoint – how the size gatherings of people of the piece in relation to the plinth ®® materials can contribute to is important. Mark Wallinger’s Ecce meaning – Gormley’s Angel of the Homo was life size and appeared North celebrates the ship building very small on the plinth, as did the industry of the North East and was ordinary people who appeared in constructed by men with skills that Gormley’s One and Other were used in the industry

17 u CONTENTS Introduce different sculpture ®® moulding and casting – the ®® traditional materials or casting techniques and materials techniques used to produce the techniques are still used by large bronze statues in Trafalgar contemporary sculptors. Artists ®® modelling uses soft material in Square – involve filling a space (the like Peter Randall Page carve an additive process – clay, wax, mould) with directly in stone and wood. Other plasticine molten or liquid materials – plaster sculptors work with fabricating teams ®® carving involves taking material or molten metal. A good example of to produce bronze or fibreglass away – stone, wood, soap, this is a jelly mould. Antony Gormley sculptures, like Yinka Shonibare’s polystyrene covered himself in plaster and scrim Wind Sculpture. ®® construction/fabrication involves to make a mould with which to cast assembling or joining things together life size figures Examples of 3-dimensional objects in a – traditional materials – wood, metal ®® contemporary sculptors feel free range of materials and using different or just about anything in terms of to use any materials – see Deller’s techniques are very useful when found materials – sticks, paper Sacrilege an inflatable Stonehenge. talking about sculpture materials and plates, cardboard, cable ties, tape – These can be permanent or not – processes. for example the welded sections of the degradation, or failing of Angel of the North materials can sometimes be part of the art work – for example Ackroyd & Harvey’s growing and dying vegetation. Gormley put real people on the Fourth Plinth

18 u CONTENTS Fourth Plinth Schools Awards Resource 19

Elmgreen and Dragset, Powerless Structures, Fig.101, Production. © Gaultier Deblonde

19 u CONTENTS Discussion activity Discussion activity Practical activity Ask students to think about what Ask students what qualities materials Students could use pen and wash, or processes and materials have been used for contemporary public sculpture pencil drawing to explore and interpret used to make the historical sculptures must have. Consider whether the surface textures of resource objects in Trafalgar Square and previous sculptures are meant to be permanent provided or sculptures and public art Fourth Plinth works. or temporary. in their local environments (see Claes Ask them to identify and list what Artists cited here use light, the cycle Oldenburg and Christo drawings) those materials appear to be. of natural growth and decay. Do the How have the materials changed materials have to be only visual? If using clay or modelling materials over time? What else could they be? they could use carving, impressing and Discuss to what extent the materials modelling to explore the potential for affect the impact on the audience. surface decoration

Students could collect a range of found materials – man made or natural for making a sculpture in the class or at home. They could test them for strength, malleability, elasticity etc. They could paint them

20 u CONTENTS Discussion activity Shonibare says: Discussion activity Discuss the titles of several of the “For me it’s a celebration of London’s Discuss some of the themes that are works you’ve been looking at like immense ethnic wealth, giving raised through a study of the Fourth Jeremy Deller’s Sacrilege, Yinka expression to and honouring the many Plinth sculptures Shonibare’s Ship in a Bottle, Antony cultures and ethnicities that are still Gormley’s Angel of the North. breathing precious wind into the sails ®® ask students to brainstorm what their Consider: of the United Kingdom. A ship in a own concerns are bottle is an object of wonder. Adults ®® what are the things they would like ®® what do the titles reveal about the and children are intrigued by its to celebrate or criticise about living meaning of the works? mystery. How can such towering masts in London? Do they want to make ®® why is Deller’s bouncy castle titled and billowing sails fit inside such a a personal statement or address a Sacrilege? commonplace object? With Nelson’s bigger issue? ®® what’s the significance of Yinka Ship in a Bottle I want to take this ®® encourage them to discuss in pairs Shonibare MBE’s Ship in a Bottle childhood sense of wonder and amplify or groups how they would express in terms of its position in Trafalgar it to match the monumental scale of these ideas on the plinth Square and the history of the Trafalgar Square.” Britain? Make a list or visual record of the themes that the students come up with. They may all want to say something different through their sculpture or they may decide on a group topic that they can interpret differently

21 u CONTENTS Fourth Plinth Schools Awards Resource 22

Yinka Shonibare MBE, Nelson’s Ship in a Bottle, National Gallery, St Martin the Fields. © James O Jenkins

22 u CONTENTS Fourth Plinth Schools Awards Resource 23 explore

23 u CONTENTS If possible, visit Trafalgar Square to For a map of Trafalgar square and Discussion activity see the Fourth Plinth and the other details on its buildings, monuments Ask students to record and respond sculptures in the square. This will help and sculptures: to the Fourth Plinth sculpture and students understand the context of the sculptures in the square or in their local plinth. Students should investigate, Art of Walking – Primer environment. This should be through record, and respond to what they see. www.london.gov.uk/sites/default/ photography, film, sound recording as This will help them design and develop files/Art%20of%20Walking_Primer. well as a range of art media – pen and an artwork for the plinth. pdf pencil drawing, rubbings, collage. pages 112 to 120 Ask the students to think about: More information can be found at: ®® composition, volume and proportion http://en.wikipedia.org/wiki/ ®® image, meaning, identity, title and Trafalgar_Square site ®® different viewpoints – above, below http://en.wikipedia.org/wiki/ and all sides, perspective and List_of_public_art_in_the_City_of_ relationships between spaces Westminster#Charing_Cross_.2F_ ®® surface decoration, pattern, relief Trafalgar_Square and carved ®® weather conditions, light, shade, sounds and temperatures

24 u CONTENTS Practical activity ®® use cameras and recorders to Additional resources: They could: record viewpoints, changing You’ll find Maggi Hambling’s A ®® make tonal drawings, wash or paper weather conditions, audience Conversation with Oscar Wilde and collage techniques to investigate reaction and sounds Sir George Frampton’s Edith Cavell composition, volume and proportion ®® write their personal responses to the Memorial nearby to compare with ®® use line drawing in ink, marker pens works they see – their likes, dislikes, sculpture in Trafalgar Square. or pencil to record details of the meanings they read in the works sculptures, focussing on pattern and http://en.wikipedia.org/wiki/A_ surface decoration, and the context - Conversation_with_Oscar_Wilde scale, viewpoint After the visit ®® use viewfinders to isolate and focus http://en.wikipedia.org/wiki/Edith_ on parts of the sculpture Practical activity Cavell_Memorial ® ® make rubbings of textures and ®® Ask the students to assemble their surfaces in the locality if not on research in a sketch book or as a These are both memorials, but to very the sculptures presentation sheet, selecting from different individuals. Researching ® ® collect reference materials - their recordings and ideas to visually each and comparing them shows some tourist information, postcards, tickets demonstrate the impact of what they of the 20th century development in and ephemera have seen, weighing the evidence public sculpture. to produce useful resources that will contribute to the development of their final sculptures.

25 u CONTENTS Fourth Plinth Schools Awards Resource 26 connect

26 u CONTENTS Drawing or modelling initial If working in 3D, students could make Explain that these initial drawings and ideas for the sculpture up the model plinth in card based on models are only a start and may have the folding template (R3) supplied with to be changed for the final piece. They Practical activity this resource. Students could make a enable students to experiment with and Ask the students to work with their clay or plasticine plinth to support a 3D test the materials they are using and resources, recordings and found form on top. They could model the work out their ideas. materials if they have them, to sculptures with plasticine or clay, design a sculpture that addresses or assemble them from small found When the drawings and models are one of the themes – personal or objects and other materials. complete encourage the students public – they’ve investigated and want to review and modify them where to communicate. Emphasise looking in the round, the necessary in pairs or in groups. importance of volume, space and Using the template of the plinth scale, the need to be aware of all supplied with the resource – side, front viewpoints and the position of the an 3/4 view (R2) ask the students to viewer. Encourage students to use their draw their initial ideas for the sculpture. imagination. Get them to experiment They could place these against the with different materials to work out projected image of the Fourth Plinth in how the sculpture will stand up or hold Trafalgar Square (R4) supplied with the together, and use tools or colour for resource. surface texture or decoration.

27 u CONTENTS You’ll probably have decided on the ®® modelling employs soft material in medium for the work depending on an additive process – clay, wax, what’s available in school. However, plaster and scrim (although it sets you can introduce different sculpture hard it can be modelled) techniques and materials: ®® carving involves taking material away – stone, wood, soap, polystyrene ®® construction/fabrication involves assembling or joining things together – traditional materials – wood, metal or just about anything in terms of found materials – sticks, paper plates, cable ties, like the welded sections of Angel of the North ®® moulding and casting – the techniques used to produce the large bronze statues in Trafalgar Square – involve filling a space with molten or liquid materials – plaster or hot metal. A good example of this is a jelly mould

28 u CONTENTS It may be helpful to show your class Practical activity Presenting the sculpture suggested techniques and what tools ®® Ask students to make their sculpture for the awards and materials are available. Also you or design working alone, in pairs or ®® In order to enter the design or can ask students to bring in collected in a group model for the Fourth Plinth Schools materials in advance. ®® Encourage them to think about the Awards you’ll have to photograph title of the work as they go along if any 3D submissions and upload it’s not yet decided them on to the Mayor of London’s ®® Share and discuss the final website. pieces together ®® Photograph them against a ®® Encourage them to formulate the neutral background main message of their piece and ®® Drawings must be scanned for why they took the approach that submission, unless they have they did been done on the computer

To submit your designs complete the form at www.London.gov.uk/enter- schools-awards

29 u CONTENTS Fourth Plinth Schools Awards Resource 30

ReferenceS

30 u CONTENTS Artists cited in this resource or who Antony Gormley Peter Freeman have made public sculpture which can www.antonygormley.com www.peterfreeman.co.uk be seen, or was temporarily shown, in http://londonist.com/2014/08/where- London include to-find-antony-gormley-sculptures- Peter Randall Page in-london.php www.peterrandall-page.com

Anish Kapoor Ackroyd & Harvey http://www.anishkapoor.com www.ackroydandharvey.com

Thomas Heatherwick Christo and Jeanne-Claude www.heatherwick.com www.christojeanneclaude.net

Jeremy Deller Tony Cragg www.jeremydeller.org www.tony-cragg.com

31 u CONTENTS Other well known Henry Moore Richard Wentworth sculptors with work you www.henry-moore.org www.wharf.co.uk/globe.html can see in London are: Barbara Hepworth Phyllida Barlow www.barbarahepworth.org.uk www.tate.org.uk/whats-on/tate- britain/exhibition/tate-britain- Fiona Banner commission-2014-phyllida-barlow www.fionabanner.com

Gavin Turk http://gavinturk.com/artworks/ image/10051

32 u CONTENTS Fourth Plinth sculptors Mark Quinn Elmgreen and Dragset 1999-2017 www.marcquinn.com www.elmgreen-dragset.com

Mark Wallinger Thomas Schütte Katharina Fritsch www.hauserwirth.com/artists/64/ www.thomas-schuette.de/website_ www.whitecube.com/artists/ mark-wallinger/images-clips content.php katharina_fritsch

Bill Woodrow Antony Gormley Hans Haacke www.billwoodrow.com www.antonygormley.com www.en.wikipedia.org/wiki/Hans_ Haacke Rachel Whiteread Yinka Shonibare www.gagosian.com/artists/rachel- www.yinkashonibarembe.com David Shrigley whiteread www.davidshrigley.com

33 u CONTENTS A Teacher’s experience of the Longer version of Alison’s History of the Fourth Plinth Fourth Plinth Schools Award sculpture projects http://en.wikipedia.org/wiki/Fourth_ To see how a teacher and her pupils www.cassart.co.uk/blog/fourth_ plinth,_Trafalgar_Square responded to the challenge of plinth_schools_awards_2014.htm designing sculpture for the Fourth with links to information about past Plinth see Alison Gill’s Pinterest board with artists’ work for Fourth Plinth Alison Gill’s contributions to GLA and images of sculptures, Awards Cass Arts’ website and blog entries www.london.gov.uk/city-hall/city- www.pinterest.com/artistinschool/ hall-blog/2014/02/fourth-plinth-a- the-fourth-plinth/ springboard-for-school-sculpture

34 u CONTENTS General information about London galleries with a range Useful links for visiting London public art and sculpture of contemporary and historical In line with GLA listings sculpture List of public art in London Tate Britain, Tate Modern, Victoria and http://en.wikipedia.org/wiki/List_of_ Albert Museum, Camden Art Centre, public_art_in_London Whitechapel Gallery

Public Monument and You can also see examples of public Sculpture Association art in parks, town halls and high streets http://www.pmsa.org.uk/ as well as your local museum.

Royal British Society of Sculptors http://rbs.org.uk/

NewArtCentre Roche Court, sculpture park and educational centre www.sculpture.uk.com

Cass Sculpture Foundation www.sculpture.org.uk

35 u CONTENTS Fourth Plinth Schools Awards Resource 36

REsources

36 u CONTENTS R1 – Images and Information about Fourth Plinth sculptures 1999-2015

1. Ecce Homo 4. Alison Lapper Pregnant 7. Ship in a Bottle Mark Wallinger, 1999 Mark Quinn, 2005 Yinka Shonibare MBE, 2010 www.youtube.com/ www.london.gov.uk/priorities/arts- www.london.gov.uk/priorities/arts- watch?v=i74ME692wx8 culture/fourth-plinth/commissions/ culture/fourth-plinth/commissions/ marc-quinn yinka-shonibare-mbe 2. Regardless of History Bill Woodrow, 2000 5. Model for a Hotel 8. Powerless Structures Fig. 101, www.billwoodrow.com/ Thomas Schütte 2007 Elmgreen and Dragset, 2012 dev/sculpture_by_letter. www.london.gov.uk/priorities/arts- www.london.gov.uk/priorities/arts- php?page=2&i=17&sel_letter=r culture/fourth-plinth/commissions/ culture/fourth-plinth/commissions/ thomas-sch-tte elmgreen-and-dragset 3. Monument Rachel Whiteread, 2001 6. One and Other 9. Hahn/Cock www.telegraph.co.uk/culture/ Antony Gormley, 2009 Katharina Frisch, 2013 culturepicturegalleries/4838785/ www.london.gov.uk/priorities/arts- www.london.gov.uk/priorities/arts- Trafalgar-Squares-Fourth-Plinth. culture/fourth-plinth/commissions/ culture/fourth-plinth/katharina- html?image=1 antony-gormley fritsch

37 u CONTENTS R2 – drawing of Fourth Plinth

38 u CONTENTS R3 – Fourth Plinth template

Print on to card as large as possible. Cut out the image and fold along the dotted lines. Stick tabs to top edges of plinth.  

39 u CONTENTS R4 – THE empty FOURTH plinth

40 u CONTENTS