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TATE TRIENNIAL 2006 NEW BRITISHART 1 March – 14 May 2006 Teacher and Student Notes By Angie MacDonald Supported by Calouste Gulbenkian Foundation Media partner Tate Triennial 2006: New British Art Introduction to the Exhibition About the Teacher and Students Notes This exhibition, the third Tate Triennial show of contemporary art, The aim of this pack is to provide an introduction to the exhibition, presents work by thirty-six artists working in Britain today. The exhibition information about key works on display, and suggestions of themes includes painting, photography, installation, sculpture, video, sound, and issues to consider and discuss. It also suggests ways of looking text, drawing and live works. at contemporary art and links to the wider Tate collection. The key work Artists included in this exhibition: Pablo Bronstein, Angela Bulloch, cards can be used to help focus work in small groups in the exhibition, Gerard Byrne, Marc Camille Chaimowicz, Lali Chetwynd, Cosey Fanni and to prepare or follow up with in the classroom. Tutti, Enrico David, Peter Doig, Kaye Donachie, Ian Hamilton Finlay, Resources Luke Fowler, Michael Fullerton, Ryan Gander, Liam Gillick, Douglas Gordon, Mark Leckey, Linder, Lucy McKenzie, Daria Martin, Simon Within the exhibition the ‘plaza’ serves as an information point Martin, Alan Michael, Jonathan Monk, Scott Myles, Christopher Orr, providing reading material, video interviews and documentation The Otolith Group, Djordje Ozbolt, Oliver Payne and Nick Relph, Olivia of the performances. There is an audio guide available to all visitors Plender, Muzi Quawson, Eva Rothschild, Tino Sehgal, John Stezaker, which features commentary from key artists on display. The catalogue Rebecca Warren, Nicole Wermers and Cerith Wyn Evans. is available at the entrance to the exhibition, price £19.99. The Tate shop has a selection of books, journals, catalogues, postcards The exhibition is in the Upper Galleries, Lightbox space, Rooms 1 and and related materials. 16 in the displays, Duveen Galleries and there is an installation in the exhibition shop. A key aspect of the exhibition is the staging of live Websites works. The architect Celine Condorelli and artist Pablo Bronstein have The Tate Triennial website gives access to five artist interviews and collaborated to make a special theatre structure situated in the North audio clips. Visit www.tate.org.uk/britain/exhibitions/triennial/ Duveen Galleries. Described as a ‘communal plaza’ this structure serves as an information point and a performance area. www.tate.org.uk/learning contains Schools Online for teachers and group leaders. You can download teacher resource notes for most What is the Tate Triennial? major exhibitions including past Triennial and Turner Prize packs. Held every three years, each Triennial exhibition has its own character and curatorial perspective. The Triennial explores the various Further Reading relationships between historic and modern British art. The first Tate Anderson, Laurie, Performance: Live Art Since the 1960s, 2004, Triennial, Intelligence, was held in 2000 and the second, Days Like Thames & Hudson Ltd. These, in 2003. Bishop, Claire, Installation Art: a Critical History, 2005, Tate Publishing This time, Tate invited Beatrix Ruf, Director of Kunsthalle Zürich, to Buck, Louisa, Moving Targets 2, A User’s Guide to British Art Now, bring an international perspective to the show. The selection is based 2000 Tate Publishing on artists who explore the recasting or reusing of cultural materials. Button, Virginia, New Revised Edition, The Turner Prize, 2005, Artists today work with all types of cultural material and often in Tate Publishing multidisciplinary modes. Ruf has invited several generations including Goldberg, Roselee, Performance Art from Futurism to the Present, artists such as Peter Doig, Douglas Gordon and Liam Gillick who have 2001, Thames & Hudson Ltd. participated in previous Triennials. More established artists such as Heathfield, Adrian (editor), Live: Art & Performance, 2004, Ian Hamilton Finlay and John Stezaker are included alongside artists Tate Publishing such as Muzi Quawson and Ryan Gander. Kaye, Nick (editor), Site Specific Art: Performance, Place & This exhibition provides an excellent opportunity for students to Documentation, 2000, Routledge consider the work of contemporary British artists and to explore Kent, Sarah, Shark Infested Waters: The Saatchi Collection of British the role of art in today’s world. Art in the 90s, 1994, London The exhibition also provides an excellent context for the Turner Prize Ruf, Beatrix (editor), Tate Triennial: New British Art, exhibition catalogue (which takes place every year in the autumn at Tate Britain) and will 2006, Tate Publishing help your students to understand the debate and controversy that Stallabrass, Julian, Art Incorporated: The Story of Contemporary Art, always surround this event. Whereas the Turner Prize is limited to 2004, Oxford University Press four nominated artists, this exhibition offers a much wider view of contemporary practice. It includes past nominees (such as Angela Taylor, Brandon, Art Today, 2004, Laurence King Publishing Bulloch, Liam Gillick, Douglas Gordon and Peter Doig) and some Weintraub, Linda, Making Contemporary Art: How Today’s Artists of the younger artists will no doubt be nominated in the future. Think and Work, 2003, Thames & Hudson Ltd. Visiting the Exhibition Admission to the exhibition is free. But all groups must book in advance The exhibition contains some work of a sexually explicit with Education Bookings on 020 7887 3959. If you would like to use nature which you may find inappropriate for your group. the Schools Area to have lunch or use locker spaces please book these It is not recommended for children under 16. when you call (there is limited space available). As all exhibitions at Tate can be busy, you cannot lecture, but you can discuss works in a conversational manner to groups of no more than six students at a time. If possible, brief your students before they enter the exhibition, and if you have a large group, we suggest that you divide into smaller groups and follow the suggestions in this pack. Ways of Looking One way to explore the exhibition would be to have a general look Subject and Meaning and then to focus on a few key works, such as the ones included • Is the artwork about a subject, issue or theme? in this pack. However, to start off, you could ask students the • Is it about real life? following questions: • Could the work have a symbolic, moral or political meaning? • Is there a story or narrative within the work? Ice-breaker Questions • How does the work make you think about time? • What are your first impressions of the exhibition? • Does it make you consider aspects of life or art in a new way? • What do these artists seem to be interested in? (you could make a list) • Does the work have a title? Does this affect the way you see it? • Do they share any common interests and concerns? • What information is available in the gallery (eg wall text or caption)? • What sorts of materials and processes do they work with? Does this information change the way you see it? • These artists draw on a vast range of sources. Can you identify some of them? Art in Context • How do these artists transform or change the gallery spaces? • Who is the artist? Do you think background on the artist can inform us about what it might be about? Personal Responses • Was the artwork made for a particular location or event? • What are your first reactions to the work? • Does the artwork link to other works made by the artist? • What is the first word that came into your head when you saw it? • How does the artwork link to work by other contemporary artists? • What do you notice first? • Does it connect to any art of the past? • Does it remind you of anything? • What does the artwork tell us about the ideas and values of • What do you think the artist wants to communicate? today’s world? • How does it link or comment on contemporary social, cultural Looking at the Artwork and political issues such as consumerism, globalisation and • What materials and processes has the artist used to make the multi-culturalism? artwork? • Does the work make use of modern materials and technology • What is it? (is it a film, photograph, drawing, sculpture, installation, or perhaps it reinvents age-old processes? performance etc?) • Where is it? Describe the space. Does it link with other artworks in the exhibition? • How big is the artwork? What effect does scale have on the artwork and our relationship to it? • Is it time-based? If so, describe what happened and how long it took. Is it repeated? Questions relating to Contemporary Art Contemporary art can raise many questions, below are just a few: Mixed Media Many artists today work in a range of media encompassing painting, Conceptual Art sculpture and photography as well as live work and installation. They For some people, contemporary art is synonymous with Conceptual art. question and challenge the museum as an appropriate space for art, Conceptual artists do not set out to make a painting or a sculpture and choosing to intervene or place their art in unusual places. What then fit their ideas to that existing form. Instead they give the ideas constitutes art today and where does the ‘artwork’ begin and end? priority over the traditional media. Do you think any of the Triennial artists are influenced by Conceptual art? What about Painting? For many years there has been a debate about the place of painting Appropriation in contemporary art. With new media and technologies, collaborative In current art practice there is a distinct tendency to re-use or re-cast practice, installations and the freedom to make work out of any cultural materials. Artists make reference to art history, film, music, materials at all, has painting died? It is interesting to note that at architecture and design as well as to theoretical ideas.
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