FOURTH PLINTH SCHOOLS AWARDS TEACHERS RESOURCE

SUPPORTED BY Fourth Plinth Schools Award Teachers Resource

Contents

Introduction...... 3 Explore...... 23 References...... 30

Resource aims...... 4 Visit to Other well known sculptors with or to see local public art...... 24 work you can see in ...... 32 Using the resource...... 4 Connect...... 26 Fourth Plinth sculptors Discover...... 11 1999-2017...... 33 Drawing or modelling initial Introducing the Fourth Plinth ideas for the sculpture...... 27 Resources...... 36 Schools Awards...... 12 Presenting the sculpture R1 – Images and Information Putting the awards in context: for the awards...... 29 about Fourth Plinth sculptures What is the Fourth Plinth?...... 12 1999-2015...... 37

R2 – Drawing of Fourth Plinth...... 38

R3 – Fourth Plinth template...... 39

R4 – The empty Fourth Plinth...... 40

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Introduction

The Fourth Plinth Programme is the 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

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Resource aims record, research, make, present, as well as designing, making and reflect upon and assess their own work. problem-solving. Finally, students can This resource can be used by teachers They should also give constructive review their proposed design. and students to develop a design feedback to other students. drawing, sculpture or model (maquette) for the Fourth Plinth Schools Awards. Using the resource It helps students research the ideas, methods and approaches artists use These lesson plans are designed to be to make works for public spaces. flexible. That means you can include, This includes the Fourth Plinth and adapt, or leave out activities – according other public spaces in London. to what materials/resources you have and how much time/interest there is. It aims to give students a critical and cultural understanding of the role of Planning for around four or five sessions art, craft and design in London by is ideal. That’s one or two to introduce looking at the context in which it is the subject, and one to visit Trafalgar made. This includes the local and global Square (or another outdoor space) environment, London’s audiences to see, record and discuss public and the meaning of historical and sculpture. Further sessions will deal contemporary public art. with learning sculpting techniques like modelling in clay or using modroc Thomas Schütte, Model for a Hotel, 2007 Students are encouraged to watch, plaster bandage,

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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

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◆◆ 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

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For practical work you could use: For presentation of a sculpture idea you For research you could use

◆◆ could use a camera, scanner, computer ◆◆ research and recording – drawing for drawing, illustration software, digital photographs/postcards, maps, materials – pencil, pens, charcoal, projector plans of local landscapes featuring found objects or tools, sketchbooks, public 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 have scale sculpture or maquette – clay created public sculpture including (plasticine, air drying or fired), wire, their research and preparation. card, soap, stone, wood, metal, scrim For example, photographic ◆◆ found and recycled materials – boxes, documentation, preparatory cartons, paper plates, cups, card sketches, maquettes ◆◆ tubes, plastic bottles, wood scraps, For named artists see links below building blocks, pipe cleaners, straws, Alison Gill’s pinterest link lolly sticks ◆◆ joining materials – sticky tape, sticky www.pinterest.com/artistinschool/ pads, glue, thread, wire, cable ties the-fourth-plinth ◆◆ decorating or surface enhancement – paint, stains, inks, varnish or PVA, carving tools

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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 with others

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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, methods and feelings others’ work and approaches used in their own ◆◆ ◆◆ ◆◆ compare, and comment on, ideas, adapt and improve their work and others’ work, and relate these to methods and approaches used in the context ◆◆ their own and others’ work, and relate adapt and refine their work to ◆◆ these to the purpose of the work reflect their own view of its purpose ◆◆ adapt and improve their work to and meaning realise their own intentions

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

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Discover

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Introducing THE FOURTH However, it remained empty from 1841 PLINTH SCHOOLS awards until 1999 when the Royal Society of 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 express their views on life in best use of the plinth was to continue London. Visit: to show temporary contemporary www.london.gov.uk/fourthplinth art commissions. In 2000 the Mayor of London took over management of Putting the awards in Trafalgar Square and created the Fourth context: What is the Plinth Commission as it stands today. Fourth Plinth? Read a history of the Fourth Plinth The Fourth Plinth sits in the north sculptures at: west corner of Trafalgar Square. It is a platform for an ongoing programme of http://en.wikipedia.org/wiki/Fourth_ contemporary sculpture commissions. plinth,_Trafalgar_Square The plinth was originally meant to host Hans Haacke, Model for Gift Horse, 2014 an equestrian statue of King William IV.

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Discussion activity Practical activity

A good starting point for discussion Look at the previous Fourth Plinth is the current sculpture. sculptures:

Discussion activity www.london.gov.uk/fourthplinth/ commissions Ask students for their views on the sculpture and what kind of impact Ask students to pick one or two they think it has on Trafalgar Square, sculptures that appeal to them. in relation to Londoners, tourists, They should then draw the sculptures people who work there, young people. and /or record their responses in terms What might the media response be? of subject, materials, why they appeal, and finally share their views

Marc Quinn, Alison Lapper Pregnant, 2000

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

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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

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

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◆◆ ◆◆ Discussion activity purpose and meaning – some architectural sculpture – sculpture sculptures are memorials, others can be like architecture, it can mark Ask students to pick some of these appear to be for entertainment and a place, give protection – Thomas works and discuss how they relate to decoration but may have other roles Heatherwick’s bridge or Peter their contexts. Discuss: and meanings. For example the Freeman’s light pieces ◆◆ ◆◆ fountains in Trafalgar Square appear humour – Jeremy Deller’s Sacrilege location, site, position, sense of place decorative, but square architect involves humour but is a serious – how do the sculptures impact on Sir Charles Barry, said they had comment about national heritage and their surroundings? ◆◆ the added role of preventing large 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

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◆◆ ◆◆ Introduce different sculpture techniques moulding and casting – the traditional materials or casting and materials techniques used to produce the large techniques are still used by

◆◆ bronze statues in Trafalgar Square – contemporary sculptors. Artists like modelling uses soft material in involve filling a space (the mould) with Peter Randall Page carve directly in an additive process – clay, wax, molten or liquid materials – plaster stone and wood. Other sculptors work plasticine ◆◆ or molten metal. A good example of with fabricating teams to produce carving involves taking material away this is a jelly mould. Antony Gormley bronze or fibreglass sculptures, like – stone, wood, soap, polystyrene ◆◆ covered himself in plaster and scrim Yinka Shonibare’s 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 plates, Sacrilege an inflatable Stonehenge. talking about sculpture materials and cardboard, cable ties, tape – for These can be permanent or not processes. example the welded sections of Angel – the degradation, or failing of 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

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Elmgreen and Dragset, Powerless Structures, Fig.101, Production

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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 Fourth sculptures are meant to be permanent provided or sculptures and public art Plinth works. Ask them to identify and or temporary. in their local environments (see Claes list what those materials appear to be. Oldenburg and Christo drawings) How have the materials changed over Artists cited here use light, the cycle time? of natural growth and decay. Do the If using clay or modelling materials materials have to be only visual? What they could use carving, impressing and else could they be? modelling to explore the potential for surface decoration Discuss to what extent the materials affect the impact on the audience. 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

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Discussion activity Shonibare says: Discussion activity

Discuss the titles of several of the works “For me it’s a celebration of London’s Discuss some of the themes that are you’ve been looking at like Jeremy immense ethnic wealth, giving raised through a study of the Fourth Deller’s Sacrilege, Yinka Shonibare’s expression to and honouring the many Plinth sculptures

Ship in a Bottle, Antony Gormley’s Angel cultures and ethnicities that are still ◆◆ of the North. Consider: breathing precious wind into the sails of ask students to brainstorm what their own concerns are ◆◆ the . A ship in a bottle is ◆◆ what do the titles reveal about the what are the things they would like an object of wonder. Adults and children ◆◆ meaning of the works? to celebrate or criticise about living ◆◆ are intrigued by its mystery. How can ◆◆ why is Deller’s bouncy castle titled such towering masts and billowing sails in London? Do they want to make Sacrilege? a personal statement or address a ◆◆ fit inside such a commonplace object? what’s the significance of Yinka bigger issue? With Nelson’s Ship in a Bottle I want to ◆◆ Shonibare MBE’s Ship in a Bottle take this childhood sense of wonder encourage them to discuss in pairs or in terms of its position in Trafalgar and amplify it to match the monumental groups how they would express these Square and the history of the Britain? scale of Trafalgar Square.” ideas on the plinth 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

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Yinka Shonibare MBE, Nelson’s Ship in a Bottle, , St Martin the Fields

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Explore

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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 and sculptures in the square. This will help sculptures: Ask students to record and respond students understand the context of to the Fourth Plinth sculpture and the plinth. Students should investigate, Art of Walking – Primer sculptures in the square or in their local record, and respond to what they see. environment. This should be through www.london.gov.uk/sites/default/files/ This will help them design and develop photography, film, sound recording as Art%20of%20Walking_Primer.pdf an artwork for the plinth. well as a range of art media – pen and 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/Trafalgar_ ◆◆ image, meaning, identity, title and site Square ◆◆ different viewpoints – above, below http://en.wikipedia.org/wiki/ and all sides, perspective and relationships between spaces List_of_public_art_in_the_City_of_ ◆◆ Westminster#Charing_Cross_.2F_ surface decoration, pattern, relief and carved Trafalgar_Square ◆◆ weather conditions, light, shade, sounds and temperatures

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

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Connect

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

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◆◆ You’ll probably have decided on the modelling employs soft material in an medium for the work depending on additive process – clay, wax, plaster what’s available in school. However, and scrim (although it sets hard it can you can introduce different sculpture 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

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

To submit your designs complete the form at

www.london.gov.uk/enter-schools- awards

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References

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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-in- Peter Randall Page 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

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Other well known sculptors Henry Moore Richard Wentworth with work you can see in www.henry-moore.org www.wharf.co.uk/globe.html 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

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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

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

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General information about public art London galleries with a Useful links for visiting and sculpture range of contemporary London and historical sculpture List of public art in London In line with GLA listings http://en.wikipedia.org/wiki/List_of_ Tate Britain, Tate Modern, Victoria and public_art_in_London Albert Museum, Camden Art Centre, Whitechapel Gallery Public Monument and Sculpture Association You can also see examples of public art http://www.pmsa.org.uk/ in parks, town halls and high streets 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

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Resources

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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/dev/sculpture_ Thomas Schütte 2007 Elmgreen and Dragset, 2012 by_letter.php?page=2&i=17&sel_ www.london.gov.uk/priorities/arts- www.london.gov.uk/priorities/arts- 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-fritsch html?image=1 antony-gormley

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R2 – drawing of Fourth Plinth

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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.

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R4 – The empty Fourth Plinth

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