http://www.metromagazine.com.au https://theeducationshop.com.au A STUDY GUIDE BY © ATOM 2019 ISBN: 978-1-76061-296-2 JENNIFER CONNOLLY L–R: MICHAEL LANDY, ARTIST PROJECT #24 AND PROJECT #35; DANIEL THOMAS AM, CURATOR AGNSW 1958 - 1978
Synopsis Doing It in Public: The Kaldor Projects explores the private – Christo’s wrapping of landscape and Jones’ unearthing and public stories of the arts organisation Kaldor Public Art of cultural identity – Kaldor brought celebrity artist Marina Projects across fifty years and thirty-four projects in public Abramović to entice audiences towards an artistic spaces in Australia. sensibility; Gilbert & George to enliven the AGNSW with The Singing Sculpture; and Jeff Koons to achieve an Beginning in 1969 with Wrapped Coast, Hungarian migrant awesome feat of plant and steel construction with his and fabric maker John Kaldor collaborated with European much-loved Puppy at the MCA in Circular Quay. artists Christo and Jeanne-Claude to wrap Sydney’s Little Bay coastline, creating the world’s largest land art. One Weaving together past and present stories of these million square feet of fabric connected Australia’s cultural ephemeral works, the narrative of the documentary It landscape to an international avant-garde. All Started with a Stale Sandwich unfolds across many of the projects, including the conception of Project 34, Nearly half a century later, Indigenous Australian artist Absorption, with American artist Asad Raza; the planning Jonathan Jones created a monumental artwork for Kaldor of Project 35, an upcoming major survey of the fifty years Public Art Projects, to respond to the lost architecture and of Kaldor Public Art Projects, created by British artist culturally significant Aboriginal objects collected in the Michael Landy; including a new ‘virtual’ work by Australian Garden Palace and lost in the fire that destroyed it in 1882, artists Agatha Gothe-Snape and Tea Uglow. at The Royal Botanic Gardens in Sydney, and in so doing exposed its Aboriginal identity. Doing It in Public: The Kaldor Projects revels in the public moments that John Kaldor’s art projects created, and In between these two stunning cultural bookends shares the delights of his private passion for art.1
CONTENT HYPERLINKS
2 SYNOPSIS 4 CURRICULUM AND 7 WHILE VIEWING EDUCATIONAL © ATOM 2019 3 DIRECTOR’S SUITABILITY LINKS 10 AFTER VIEWING STATEMENT 6 BEFORE VIEWING 2 Director’s Statement
SAMANTHA LANG
‘Artists are futurists, they pick up the straws in the wind, those low-level wave lengths of what is happening, and what is about to happen, and in doing so they can change what happens.’ – Ian Miliss, Artist2
The Kaldor Public Art Projects changed what happened in Sydney’s contemporary art landscape over a period of fifty years. Doing It in Public: The Kaldor Projects acts as a kind of time capsule – documenting the impact on screen in seconds, that John Kaldor’s art philanthropy has had over decades. It was a rare pleasure to encounter octogenarians and listen to them speak so coherently about their art practice. Interviewing artists Christo and Gilbert & George; author David Malouf; curator Daniel Thomas; and Ellen Waugh (one of NSW’s first art teachers), I was gifted with an historical perspective that was surprising, amusing and heartening. Of equal amusement, was the time I spent with younger artists, Agatha Gothe-Snape, Asad Raza and Michael Landy, witnessing at close hand, their working process with John Kaldor and his team. So as I made my way through archives and interviews, I decided that I wanted this film to be delightful rather than didactic – acting as mirror for John Kaldor’s journey with the 34 artists and their ephemeral artworks – as well as for his current dilemma of how to represent those works in an exhibition. John Kaldor comes alive when he is in relationship with artists and this is what I sought to capture on screen, as it goes straight to the heart of what has sustained him over half a century: a passion for the creative encounter, and for sharing that with the Australian public. As with the public art projects that Kaldor himself produces, I wanted the audiences to be able to encounter the film on different levels, whether simply as a great yarn about artists, or as an insight into the artistic process, or as a meditation on how we ‘story’ our places, or as a political comment about how cultural identity is informed by those who get to tell stories. This program has layers and connections that form an intimate stratigraphy of the public © ATOM 2019 art project in Sydney, from 1969 to 2019 and beyond.3 3 PENELOPE SEIDLER AM, ARCHITECT AND PHILANTHROPIST
Curriculum and Educational Suitability Links Doing It in Public: The Kaldor Projects is suitable for secondary students in Years 7–12. It would also have application as part of tertiary arts courses.
General understandings Summary of links to the National Curriculum addressed in the film • Art / Studio Arts (Years 7–12) • The artistic process • English (Years 7–10) • The impact of artwork on the viewer • Media (Years 7–12) • Art as a means of expression and exploration • Drama (Years 7–12) • Art practice • The connection between art, community and Learning outcomes and content descriptors have not been identity developed for Arts subjects in the Australian curriculum; • The importance of philanthropy however, the ideas explored in the series could be linked to the key knowledge and skills in senior Art throughout Australia.
Curriculum Links:4
YEAR LEVEL YEARS 11–12
Year 7 • Use comprehension strategies to interpret, analyse and synthesise ideas and information, critiquing ideas and issues from a variety of textual sources (ACELY1723 – Scootle) • Compare the text structures and language features of multimodal texts, explaining how they combine to influence audiences (ACELY1724 – Scootle) Year 8 • Interpret the stated and implied meanings in spoken texts, and use evidence to support or challenge different perspectives (ACELY1730 – Scootle) • Plan, rehearse and deliver presentations, selecting and sequencing appropriate content, including multimodal elements, to reflect a diversity of viewpoints (ACELY1731 – Scootle) Year 9 • Analyse how the construction and interpretation of texts, including media texts, can be influenced by cultural perspectives and other texts (ACELY1739 – Scootle)
ENGLISH • Listen to spoken texts constructed for different purposes, for example to entertain and to persuade, and analyse how language features of these texts position listeners to respond in particular ways (ACELY1740 – Scootle) Year 10 • Create literary texts that reflect an emerging sense of personal style and evaluate the effectiveness of these texts (ACELT1814 – Scootle) • Identify and analyse implicit or explicit values, beliefs and assumptions in texts and how these are © ATOM 2019 influenced by purposes and likely audiences (ACELY1752 – Scootle) • Create sustained texts, including texts that combine specific digital or media content, for imaginative, informative, or persuasive purposes that reflect upon challenging and complex issues (ACELY1756 – Scootle) 4 YEAR LEVEL YEARS 11–12
Years 7 and 8 Links to senior • Develop media representations to show familiar or shared social and cultural values and beliefs, Media curriculum including those of Aboriginal and Torres Strait Islander Peoples (ACAMAM067 – Scootle) in different • Experiment with the organisation of ideas to structure stories through media conventions and genres to regions. create points of view in images, sounds and text (ACAMAM066 – Scootle) • Identify specific features and purposes of media artworks from contemporary and past times to explore viewpoints and enrich their media arts making, starting with Australian media artworks including of Aboriginal and Torres Strait Islander media artworks (ACAMAR072 – Scootle) Years 9 and 10 • Analyse a range of media artworks from contemporary and past times to explore differing viewpoints and enrich their media arts making, starting with Australian media artworks, including media artworks
MEDIA ARTS of Aboriginal and Torres Strait Islander Peoples, and international media artworks (ACAMAR079) • Experiment with ideas and stories that manipulate media conventions and genres to construct new and alternative points of view through images, sounds and text (ACAMAM073) • Develop and refine media production skills to integrate and shape the technical and symbolic elements in images, sounds and text for a specific purpose, meaning and style (ACAMAM075) • Produce and distribute media artworks for a range of community and institutional contexts and consider social, ethical and regulatory issues (ACAMAM077)
Years 7 and 8 Links to senior • Develop ways to enhance their intentions as artists through exploration of how artists use materials, Visual Arts techniques, technologies and processes (ACAVAM119 – Scootle) curriculum in • Develop planning skills for art-making by exploring techniques and processes used by different artists different regions. (ACAVAM120 – Scootle) • Practise techniques and processes to enhance representation of ideas in their art-making (ACAVAM121 – Scootle) • Analyse how artists use visual conventions in artworks (ACAVAR123 – Scootle) • Identify and connect specific features and purposes of visual artworks from contemporary and past times to explore viewpoints and enrich their art-making, starting with Australian artworks including those of Aboriginal and Torres Strait Islander Peoples (ACAVAR124 – Scootle) Years 9 and 10 • Conceptualise and develop representations of themes, concepts or subject matter to experiment with their developing personal style, reflecting on the styles of artists, including Aboriginal and Torres Strait Islander artists (ACAVAM125) VISUAL ARTS • Manipulate materials, techniques, technologies and processes to develop and represent their own artistic intentions (ACAVAM126) • Develop and refine techniques and processes to represent ideas and subject matter (ACAVAM127) • Plan and design artworks that represent artistic intention (ACAVAM128) • Present ideas for displaying artworks and evaluate displays of artworks (ACAVAM129) • Evaluate how representations communicate artistic intentions in artworks they make and view to inform their future art making (ACAVAR130) • Analyse a range of visual artworks from contemporary and past times to explore differing viewpoints and enrich their visual art-making, starting with Australian artworks, including those of Aboriginal and Torres Strait Islander Peoples, and consider international artworks (ACAVAR131)
Years 7 and 8 Links to senior • Combine the elements of drama in devised and scripted drama to explore and develop issues, ideas Drama curriculum and themes (ACADRM040 – Scootle) in different • Plan, structure and rehearse drama, exploring ways to communicate and refine dramatic meaning for regions. theatrical effect (ACADRM042 – Scootle) • Analyse how the elements of drama have been combined in devised and scripted drama to convey different forms, performance styles and dramatic meaning (ACADRR045 – Scootle)
DRAMA Years 9 and 10 • Structure drama to engage an audience through manipulation of dramatic action, forms and performance styles and by using design elements (ACADRM050) • Perform devised and scripted drama making deliberate artistic choices and shaping design elements to unify dramatic meaning for an audience (ACADRM051)
General capabilities: • Critical and Creative Thinking • Personal and Social Capability • Ethical Understanding
• Intercultural Understanding © ATOM 2019 Cross-curriculum Priority: • Aboriginal and Torres Strait Islander Histories and Cultures
5 Before Viewing John Kaldor AO is a dedicated collector, patron and scale and importance of these works:
ABOVE: JOHN KALDOR AO AND MICHAEL LANDY DISCUSS THE DESIGN OF THE 50TH EXHIBITION AT THE ART GALLERY OF NSW BELOW L–R: MARINA ABRAMOVIĆ, ARTIST, PROJECT #30 ‘MARINA ABRAMOVIĆ IN RESIDENCE’ AND JOHN KALDOR; JOHN KALDOR, DIRECTOR KALDOR PUBLIC ART PROJECTS AND EMILY SULLIVAN, PROJECT COORDINATOR KALDOR PUBLIC ART PROJECTS; JOHN KALDOR AO, USING A PROTOTYPE OF THE PROPOSED WORK BY AGATHA GOTHE-SNAPE AND TEA UGLOW © ATOM 2019
6 While Viewing
**Absorption and Asad Raza
• At the beginning of the film, Asad Raza explains his idea for Project 34. Where did the idea for Absorption come from? • Why does Asad describe the ideas behind Absorption as ‘slightly sensitive’? What is the intended aim of the project?
**John Kaldor
• How did childhood experiences shape John Kaldor’s identity? • Which exhibit in the Museum of Modern Art was John Kaldor most drawn to?
BELOW TOP: BTS DOP JUSTINE KERRIGAN, DIRECTOR SAMANTHA LANG AND SOUND RECORDIST DYLAN BLOWEN AT THE OPENING NIGHT OF KPAP PROJECT #34 “ABSORPTION” BY ASAD RAZA.. BELOW BOTTOM L–R: BTS INTERVIEWEE IMANTS TILLERS; BTS L-R **Wrapped Coast and Christo and DOP JUSTINE KERRIGAN, INTERVIEWEE IMANTS TILLERS Jeanne-Claude
• Describe the tone in the first newsreel on Christo and Jeanne-Claude’s Wrapped Coast. Why do you think this was the reaction to the work? • Recount the events that led to Christo coming to work in Australia? • What was John Kaldor’s motivation for bringing Wrapped Coast to Australia? • Describe the logistics that needed to be considered during the production of Wrapped Coast. • What role did Major Melville play in the production stage of the work? • Imants Tillers was a young architectural student when he worked on the project. What did he discover through the experience? • What role did Penelope Seidler play in the Wrapped Coast project? • ‘Being an artist consists of somehow or other picking up the straws in the wind.’ What do you think Ian Milliss means by this statement? • Wrapped Coast received a mixed reaction from the public at the time. What is your reaction to the work? Do you think it was hiding or enhancing the coastline? Can you imagine work of this scale produced in your local area? Why or why not? • What reason does Christo give for not justifying his work? © ATOM 2019
ABOVE FROM TOP: BTS INTERVIEWEE PENELOPE SEIDLER, DIRECTOR SAMANTHA LANG, CAMERA ASSISTANT GOKULCHAND MANDALAPU AND DOP JUSTINE KERRIGAN ; BTS LITTLE BAY COASTLINE 7 LEFT: BTS DIRECTOR SAMANTHA LANG WITH INTERVIEWEE JULIE EWINGTON BELOW TOP/MIDDLE LEFT: GILBERT & GEORGE, ARTISTS PROJECT #3 “THE SINGING SCULPTURE” BELOW MIDDLE RIGHT: MICHAEL LANDY, ARTIST PROJECT #24 “ACTS OF KINDNESS” AND PROJECT #35 “MAKING ART PUBLIC” BELOW BOTTOM: ASAD RAZA, ARTIST, PROJECT #34 “ABSORPTION”
**Schema for a School and Asad Raza
• What is your response to Asad Raza’s Schema for a School? • What do you think Asad Raza means when he says there is an ‘obesity of meaning’6 in society? • How does Asad Raza view the notion of ‘transparent meaning’7 in artwork? What are your thoughts on this topic? **Michael Landy
• Michael Landy is best-known for his work Break Down (2001), where he destroyed his possessions, and for **Underneath the Arches and Art Bin (2010). What is Landy’s contribution to the Gilbert & George fiftieth anniversary exhibition celebrating the Kaldor Public Art Projects? • What gave John Kaldor the courage to start his own business? • John Kaldor invited Gilbert & George to be the next artists to present a project. What was the inspiration for Underneath the Arches? • Describe the work Gilbert & George presented. What was the intention of their singing sculpture? What elements of the work convey the intention? • How did Wrapped Coast and Underneath the Arches change the expectations held by Australian audiences? • Describe the parallel made between the film They’re a Weird Mob (Michael Powell, 1966) and the Kaldor Public Art Projects in the documentary. **Puppy and Jeff Koons
• Jeff Koons’ Puppy was a rebuild of a previous piece. What was the background context for the development of Puppy? • Describe the production process for Puppy. What role did the engineer and architect play in the creation of the work? • A student planted marijuana in the top of Puppy during construction. Why did Jeff Koons react so strongly to the prank? **Kaldor Public Art Projects
• In what way does Julie Ewington believe that John Kaldor has changed Sydney? • How does John Kaldor approach art and business © ATOM 2019 differently? • How are the Kaldor Public Art Projects funded? 8 AGATHA GOTHE- SNAPE, ARTIST
SEGMENT FOCUS 2
The questions and activities below relate to the timecode 00:43:46– 00:45:26 in the film:
• What was significant about the exhibition that was destroyed when the Garden Palace burnt down in 1882? • Jonathan Jones talks about visiting the Australian Museum to discover more about his Wiradjuri and Gamilaraay ancestry. What disturbed him about this experience? • How did Uncle Stan inspire Jonathan? • List the three narratives of country that Wesley Enoch talks about. • barrangal dyara (skin and bones) was made up of 15,000 shields that line the perimeter of the former Garden Palace. What do the shields represent? **Agatha Gothe-Snape and • A native garden sits under the dome of the Garden Marina Abramović Palace. What does this represent? • What does Jonathan mean when he says ‘Australia has • Explain what Agatha Gothe-Snape means by been wrapped up in someone else’s story’? ‘reverse exhibiton’? • A comparison is drawn between Christo’s Wrapped • Describe Marina Abramović’s immersive Coast and Jonathan Jones’ barrangal dyara (skin and performance art. How do you think you would bones). How would you compare the two pieces? respond to ‘leaving your mobile phone, leaving • How do you think barrangal dyara (skin and bones) everything behind, and focussing on a very exposed the landscape to a ‘healing light’? immediate and mundane task’? • What is your response to Marina’s earlier Comprehension Questions performance artwork? Which piece resonates with you the most and why? • Recount the idea that Tea Uglow and Agatha Gothe- Snape share with John for the fiftieth exhibition. • What is your response to this idea? Describe what you think it would be like to walk around in this virtual exhibit. SEGMENT FOCUS 1 • How does Wesley Enoch define the true meaning of philanthropy and what link does this have to John Kaldor? The questions and activities below relate to the timecode 00:43:46– 00:45:26 in the film.
• What were some of the difficulties faced by the artists living above the performance art Marina Abramović: In Residence? • How did Marina challenge the artists during the exhibition? • What feedback did Marina provide Dr Christian Thompson about his work? • What is Dead Tongue about? • A segment of the work is shown in this section. How did you feel as you were watching the piece? What element of the work stood out to you the most? What message did you take away from the work?
Comprehension Questions
• How was Marina’s work influenced by a trip to Central Australia? • Penelope Seidler talks candidly about the lack of knowledge she had about Indigenous Australian culture © ATOM 2019 in her youth. Do you think people now have a better ABOVE FROM TOP: TEA UGLOW, CREATIVE DIRECTOR FOR GOOGLE’S CREATIVE LAB IN SYDNEY; JONATHAN JONES, ARTIST PROJECT #32 “BARRANGAL DYARA understanding of this culture? Why or why not? (SKIN AND BONES)” 9 BELOW: DEIRDRE PHOON AND LEONE DUNN, NURSES AT THE PRINCE HENRY HOSPITAL 1968. RIGHT: DR CHRISTIAN THOMPSON AO, RESIDENCY ARTIST, PROJECT #30 “MARINA ABRAMOVIĆ IN RESIDENCE”
After Viewing **Group project: art futurist **Multimedia presentation: Australian culture in 1960s Being an artist consists of somehow or other picking up the straws in the wind. Christo’s Wrapped Coast was exhibited in 1969, a time when You know, picking up these very slight low Australia’s cultural identity was evolving. Research what society level wavelengths, which are what in actual was like in the 1960s and present your findings on this era as a fact what’s happening and what’s going to multimedia presentation. Your four- to five-minute presentation happen and amplifying them well before should include reference to: everybody else can see them or hear them. They’re futurists in a way. They’re futurists • Politics and leaders • Entertainment / leisure who, by their existence, can also change what • Culture pursuits happens. – Ian Milliss, Artist • Values • Inventions/technology REFLECTION ACTIVITY **Research essay: Indigenous Australian culture • Break into groups of three or four and brainstorm what this quote means. Write a There is a strong focus in the film on increasing awareness of group definition that explains the quote in Indigenous Australian culture and the role art can play in reflecting your own words. on the past and educating for the future. • Brainstorm artists (in any area of the arts) who you believe have changed the After viewing the film students could conduct further research into future. Research and find out about some Indigenous Australian culture and write a 600–800-word essay emerging artists. that demonstrates their understanding of what culture means to • Put yourself in the role of an arts futurist in Aboriginal people and how culture has evolved over time. The any area of the arts. What do you believe websites below could be used as a starting point for research. will be the next big game changer in this area of the arts? • http://shareourpride.reconciliation.org.au/sections/our-culture/ • Use technology to present your ideas in • https://www.aboriginal-art-australia.com/aboriginal-art-library/ a creative manner – this could be a visual the-story-of-aboriginal-art/ presentation, a performance work, a short • https://aiatsis.gov.au/explore/culture/ film, a song or ideas for a sculpture or © ATOM 2019 • https://www.commonground.org.au/learn/ other art work. • http://shareourpride.reconciliation.org.au/sections/our-culture/ 10 LEFT FROM TOP: BTS VIEW OF SYDNEY CBD FROM THE ROOF OF THE ART GALLERY NSW; DANIEL THOMAS AM, CURATOR AGNSW 1958-1978
work. The most significant flourishing of performance art took place following the decline of modernism and Abstract Expressionism in the 1960s, and it found exponents across the world. Performance art of this period was particularly focused on the body, and is often referred to as Body art. This reflects the period’s so-called ‘dematerialization of the art object,’ and the flight from traditional media. It also reflects the political ferment of the time: the rise of feminism, which encouraged thought about the division between the personal and political and anti-war activism, which supplied models for politicized art ‘actions’. Although the concerns of performance artists have changed since the 1960s, the genre has remained a constant presence, and has largely been welcomed into the conventional museums and galleries from which it was once excluded.8
TASK
Use the information above, and your own research, to find out more about performance art. The questions below can be used as a guide: **Art Reflection • What is performance art? I think what you need to talk about is how much energy it • Where did it begin? gives you. And I think that’s true of every work of art in every • What are some examples of performance art from form. If you go to it and you come away with more energy throughout history up to present day? than you brought to it, then it’s really, really worked. – David • What is your opinion on performance art? Do you Malouf, Author believe it is a powerful medium to explore ideas? • Who are some of the more prominent Australian Think of a time when an artwork energised you. It could be performance artists and where can their projects be a piece of theatre, a sculpture, a painting, a piece of music, seen? a dance or art of any kind. Present your ideas and research in one of the following Find a partner and use the questions below as a guide for a methods: reflective conversation: • A four- to five-minute oral presentation • Describe the artwork that energised you. • A 400–500-word written report • What was it about the artwork that made you respond • A multimedia presentation that includes images and this way? relevant information communicated using a voice over • Did anything about you change after seeing this (be aware of only using images that are appropriate for artwork? your audience) • Which of the Kaldor Public Art Projects energised you the most? Why do you think this is? **Research assignment: DAVID MALOUF AO, performance art AUTHOR AND FRIEND OF JOHN KALDOR Performance is a genre in which art is presented ‘live’, usually by the artist but sometimes with collaborators or performers. It has had a role in avant-garde art throughout the 20th century, playing an important part in anarchic movements such as Futurism and Dada. Indeed, whenever artists have become discontented with conventional forms of art, such © ATOM 2019 as painting and traditional modes of sculpture, they have often turned to performance as a means to rejuvenate their 11 LEFT: LOTTIE CONSALVO, RESIDENCY ARTIST PROJECT #30 “MARINA ABRAMOVIĆ IN RESIDENCE”. BELOW FROM TOP: MIKE PARR, ARTIST PROJECT #8 “AUSTRALIAN ACCENT”; ELLEN WAUGH, ART TEACHER NSW 1968
**Art project: philanthropic • Does your community currently have a shared community experience (for example, festivals, community events)? • Is there public art in your community? Who are the Communities gain identity through shared experience’ artists? Describe the work. – Sir Nicholas Serota, Ch Director, Tate Gallery 1988-2017 • Do you have memories associated with this work? • What type of public art do you think would benefit your What kind of artwork would enhance the wellbeing of your community? Brainstorm ideas and complete a rough community and provide a positive shared experience? sketch of your ideas. Work in small teams to develop an idea for a community art project and to investigate and outline ways that this STEP 3: TEST THE IDEA project could be funded. • Create a design and write a justification for your STEP 1: UNDERSTANDING PHILANTHROPY artwork. • Decide on the best method to survey members of your Explore the Philanthropy Australia website and read the community about your idea. stories on the link below to gain a deeper understanding • Survey and analyse the feedback to decide if the of philanthropic projects and how funding can be community will feel energised by your idea. Was there obtained:
Browse through the incredible collection of works that can be found on the link below:
Choose two of the pieces to analyse using the questions below as a guide.
• What is the mood of the piece? • What is your initial reaction to it? • How has the artist utilised the elements of composition line, texture, space, colour and shape to create this mood, or establish the content of the work? • How would you describe the line quality? (if applicable) EUGENE CHOI, FACILITATOR, PROJECT #30 “MARINA ABRAMOVIC: IN • How would you describe the brushwork? (if applicable) RESIDENCE” AND PROJECT #31 “TEMPORARY TITLE” • What is the focal point? • How do the elements of composition, draw you into the work? • How does the line quality, colour relationships, shapes, • What objects or figures are clear and distinct? What spatial considerations and textural surface contribute objects are blurry? to the understanding of the painting’s content? • Is the composition closed or open? • Is the texture slick or matte? • Is harmony achieved in the composition through • Shiny or dull? formal, asymmetrical, or intuitive balance devices? • Describe the colour harmonies and contrasts in the • Are the shapes biomorphic? geometrical? composition. • Are the shapes diffused? highly delineated? painterly? • Are warm colours (those colours that are warm in • What is the relationship of the elements of composition nature, red-yellow-orange) used by the artist? to the overall meaning of the work of art?9 • Are cool colours (those colours that are cool in nature, violet-green-blue) used by the artist? • Is there an overall colour theme or tonality used? • Has the artist used dramatic light and dark lighting **Curriculum link: Art effects, much like stage lighting (chiaroscuro) effects in the painting or work of art? CREATIVE TASK • Where are you – the viewer – in relationship to the painting? Taking inspiration from the projects Are forms organised on a flat plane or are they set deep into space? Use the one of the works from the website below • How does the artist achieve this? as stimulus for a short story, poem or drama script. • What objects are low on the compositional plane? Consider how you can weave the different elements What objects are high? of the piece into your own creative work:
RESEARCH TASK
The Kaldor Public Art Projects artists
The Kaldor Public Art Projects have involved some incredible artists over the past fifty years. Choose one of the artists to research further. Write a 600–800-word biography of the artist that includes annotated examples of their artwork.
Use the link below to access the list of artists: © ATOM 2019
BTS DIRECTOR SAMANTHA LANG AND DOP JUSTINE KERRIGAN 13 Endnotes 1 It all Started with a Stale Sandwich, Press Kit, p. 4 2 ibid, p. 5 3 ibid 4 Australian Curriculum, Home - The Australian Curriculum V8.3. N.p., n.d. Web.
DIRECTOR SAMANTHA LANG
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