Tuesday, December 19, 2006

Thursday, December 14, 2006

Tuesday, December 12, 2006

Year 12 IB Art Project 2

Visualisation of a character described in a song leading to relief sculpture and block printing.

Initial Research in RWB (from now until January 9th)

Part 1: Choose a passage from a song that describes an individual character (possible examples below)

Do not choose a song and then do a picture of the actual singer (no Kurts, Bobs or Jimmies please!!!)

Part 2: Find lots of images of people that fit your conception of that character. This may be from your own photographs, magazines, newspapers, paintings by other artists etc.

Part 3: Draw and paint these images in various media. Be experimental. Use collaged photocopies and magazine pictures cut up and pasted together (certainly by hand and also possibly using PhotoShop etc). Work and rework the existing faces to create something new. Work over images in paint, pencil etc. Photocopy the final images and work over them again. Combine differnt faces to create a new person who is the character in your song/poem./prose.

The above work should fill at least 12 sides in your book.

Make these pages funky and busy – they should be working pages – integrate notes, lyrics and imagery.

Also 3 sides (minimum) illustrated research into printing techniques including: Linocut, Silkscreen, Etching and Woodcut.

Remaining 5 sides for this month::

Observational drawing work - wrap 7 different objects in newspaper, string and selotape. Arrange them into a still life and draw them in a range of different media (biro, pastel, charcoal, pencil, paint etc)

This is prep for a short observational drawing project that you will be doing this term

Studio Work (Jan 9th onwards)

Parts 4 & 5: (simultaneous): Using the final image to develop a block print that will be taken to at least 3 colour stages.

4 A1 sheets + multiple A3 & A4 experiments. You will also make a relief sculpture centred around a 3-dimensional realisation based upon your image. The ‘portrait’ sculptures will expand/be framed/explode outwards so as to continue the idea of the character at the centre (look at previous year 12s’ project for a clearer understanding of this)

Monday, December 11, 2006

Tuesday, December 05, 2006

Monday, December 04, 2006

Friday, November 24, 2006




Wednesday, October 25, 2006

Y13 RWB project (10 sides, plus 4 for the gallery task below this!)

Completed by November 13th

Choose ONE of the following:

Group Identities, Boundaries and Borders in Art

How and why do groups of people (nationalities, religions, armies, tribes, gangs, football clubs, companies etc) display their group identities through art and visual imagery? How might groups of people be identified by ‘outsiders’? (think of how you chose to represent countries by food – what other symbols or clich├ęs might work in the same way)

Some Ideas:

Look at propaganda paintings (American ‘Uncle Sam’, British ‘Your Country Needs You’, German, Russian, Italian & Japanese posters from the 2nd world war for example) Soviet Socialist Realism etc

Masks, Uniforms and Costumes from various tribes, groups and societies (from the Masaai and the Spanish navy to the Iroquois and the Ku Klux Klan)

Badges, Logos and Icons – from paintings of crucifixions in an Italian Church to the ‘Lupetto’ of AS. Roma

Modern Graffiti on trains, walls etc.

History paintings – battles, conquests and maps. Look at Albrecht Altdorfer, Paolo Uccello , Simone Martini, Ambrogio Lorenzetti. The Bayeux Tapestry etc.

When does Art become garment and garment become Art? How does fashion influence Art and vice versa?

Ritual and performance. For example: masks of the Fang people of West Africa, Japanese Noh theatre masks, North American traditional headdresses, Australian Aboriginal body painting. The costumes and contraptions of modern artist Rebecca Horn. (etc etc etc)

Where does the basic function (covering, protection, warmth etc) become less importance than the aesthetic appearance?

Fashion as a visual statement of politics and ideologies: Flapper girls in the 20s, Punks in the 70s, Hippies in the 60s etc

Influences in both directions – Pop Art, Op Art, Conceptual Art.

How does fashion in post War Britain (for example) reflect social and artistic change?

‘Talking about Art is like dancing about Architecture’ (Frank Zappa)

Can one art form explain another?

How have visual artists tried to depict performance and music in their work?

Japanese prints of theatrical performance (Hiroshige, Hokusai etc)

European painting and sculpture: Degas, Caravaggio, Fiorentino, Watteau, Italian futurist paintings (and music), Breughel, Lautrec, Max Beckmann, Picasso’s Circus performers etc.

Masks and costumes that express the role of the wearer – from various African nations and tribes, theatrical masks from China, Japan, Greece etc.

How has music been influenced by visual artists and vice versa?

Many visual artistic movements/styles had a musical equivalent (Baroque, Impressionist, Modernist, Dadaist)

Schoenberg (painter and composer), Matisse (La Danse, La Musique etc), Mondrian (Broadway Boogie Woogie)

Symbiosis: Humans and Nature in Art.

Investigating art that suggests the strength of the relationship between humankind and the environment around it.

Possible artists:

Pre 20th Century European: Metamorphosis – plants and animals into humans - Bosch, Bernini, Arcimboldo etc

Modern European: Andy Goldsworthy (abstract forms from natural materials), Anthony Gormley, Sophie Ryder (animal human creatures), Land Art – Robert Smithson. Picasso’s Centaurs etc.

Non European: Ritualistic animal masks, fetishes and totems from a variety of cultures: North and South American, African etc. Hindu animal human hybrid gods etc.

What do these metamorphic or hybrid beings suggest about human origins, relationships with nature and each other?

Romantic Art – the idea of humans at the mercy of the immense power of nature Caspar David Freidrich, JWM Turner, Albert Bierstadt etc

Artistic reference to stage, performance and theatre in a number of cultures. How does the social and cultural context of the performance influence its visual representation in another art form? Degas, Lautrec, Schiele, Hogarth, Japanese artists such as Hiroshige, Hokusai and Kunisada, Traditional African /art itself interwoven with the performance). Japan

How has the image of women (as a subject) in painting changed through the 20th century? Liberation? Emancipation? Political change including the vast increase in the number of women artists. Feminism. Look at Picasso, Klimt, Modigliani, Giacometti, Warhol, Gwen John, Frida Khalo, Dali, Freud, Jenny Saville, Paula Modersohn-Becker (amongst others!) Read Germaine Greer on the subject for a feminist perspective "The Obstacle Race: The fortunes of women painters and their work", (book in the library)

The changing roles of the human figure in Art in the 19th & 20th centuries – from portraiture to symbolic presence. Cezanne (figure as motif rather than specific portrait) through Expressionism/Cubism’s distortions and simplifications, then body art and performance of 60s & 70s. Move on into the recent work of artists like Gormley in which the body is represented as a volume in space, a symbol or a vessel.

The changing impact of Art when removed from its intended location. Comparing the potentially diminished impact of religious art when transplanted from church/temple to gallery/museum and graffiti when taken from walls, trains, subways to the ‘safe’ middleclass gallery environment. Giotto, Michelangelo, Haring, Basquiat, Kenny Scharf etc.

The continuing presence of the painted portrait in the age of photography.
What can painted portraiture offer to the artist/viewer that photography can not? How has photography freed the painter from the need to reproduce only the ‘straight forward’ likeness of the sitter? How has photography fed the painters’ imaginations and furthered the development of painting? Bacon, Nash, Hockney, Degas, Sickert, Jenny Saville, Richard Billingham etc. Read some Susan Sontag on this subject Review of her book ‘On Photography’ with a few quotes: http://www.photo.net/books/on-photography or this Sontag


Monday, October 09, 2006

Year 12 & 13 RWB task

Go to this GALLERY


Write and illustrate a 4 page critique of the work of 2 artists whose work interests you. They don't have to be obviously relevant to your own current project.

I want drawings, paintings and your own ideas - not print outs!

Wednesday, October 04, 2006

Tuesday, October 03, 2006

Thursday, September 28, 2006

Animation ideas

Have a look at the following films on YouTube

They are all possible in school - they just take a lot of time...

The Shell's Secret

Self Portrait

Painter Sketch

Wednesday, September 27, 2006


Lovely Web Site

Monday, September 25, 2006

Thursday, September 21, 2006

American influence on Anime (Renesa Extended Essay)

see I was right!

and for Alana

Ridley Scott

Monday, September 11, 2006

A book created by 4 artists:


like an RWB, but shared

Sunday, September 10, 2006

Look at this stuff (esp. Renesa!) YUKO

Thursday, September 07, 2006

Wednesday, September 06, 2006

Alessandro Bavari

Do have a good look and also watch Head Cleaner

Tuesday, August 29, 2006

Wednesday, August 23, 2006

Friday, August 11, 2006

Extended Essays from Jess, Renesa & Alana

Well where are they then?


Friday, June 16, 2006

Art Extended Essays

2 examples of very good or excellent essays in Visual Arts

Essay 1

Essay 2

Read them through!

Tuesday, June 13, 2006

Recomended Exhibitions

Dino Valls at Il Polittico

Marc Quinn and Christian Boltanski at MACRO

Summer Holiday Task for Pupils Beginning I.B. Art in September 2006

Your summer holiday task forms the beginning of your I.B. Art practical work and research studies coursework upon which your entire final grade is based. It should therefore be completed to a very high standard of presentation and content.

The first part of the task is to produce written and illustrated research in your Research Workbook. The Research Workbook records your personal investigations, practical experimentation, historical and contextual studies and developing studio work in the form of essays, illustrations, notes, photographs etc. It accounts for 30 % of your final grade. From September onwards you will be expected to complete around 4 sides in this book each week.

· First get yourself a Research Workbook ! They Must be A4 size (30cm x 20cm approx.) hard bound (usually in black ) with 140 pages (280 sides). They normally cost around €15. I know it seems a bit mean expecting you to buy your own, but if I bought everyone a book then we’d have less money for paint, paper, clay etc. etc…. Also I feel students are less likely to leave their book on the bus, or drop it in the river if is their own.

The Research tasks:

Part One : During the summer you are to visit at least one gallery or exhibition (it doesn’t have to be in Rome). Write and illustrate a review of your visit. It is often better to write about work that you have seen which you like - but it isn’t essential. Whether your critical writing is positive or negative, it must be thoughtful - not just “I don’t like this, it’s boring” or “ I like this because it’s realistic”. You’ve all done critical writing in your G.C.S.E. Art course - remember?!!! Over 6 sides of your RWB consider issues such as:

· Scale - how does a work of art’s size affect the viewer (and how is seeing an actual work of art different from seeing a reproduction in a book or on the internet for example?)

· Materials - what is it created from ?- why? - what effect does the material give?

· Content - what does the work represent ? Narrative - does it tell a story ? Does the time and place in which the piece was made affect the style and intended meaning of the work? give your personal interpretation.

· The Artist - Who ? When ?

· Even basic descriptions of colour, shapes etc. are useful - how is the mood or atmosphere of a piece affected by the artists use of colour, texture, line, pattern etc. ?

· Value judgement - is the piece successful ? Why ?

· Why was this piece of Art created? Who paid for it? Why? What task does this piece of Art hope to perform? Instruction etc?

· Part Two : Research for IB Coursework Project

Your first school-based project will begin with the creation of a sculpture taking the form mask or head-dress that will be the final outcome of your research into a wide range of existing examples and other relevant inspiration and references. Therefore you will fill at least 6 sides with drawings, paintings, photographs and notes which will form the basis of your research. For example:

Native American headgear, gas masks, gimp masks, Japanese theatrical masks, motorcycle helmets, Venetian carnival masks, traditional tribal masks from various African nations, cricket masks, hockey masks, armour, skulls of animals, fish and birds, diving masks and helmets, welding masks, Egyptian burial masks, etc etc etc….

Part Three: Design and create a poster for World Food Day. (This is a coursework project)

The theme of the poster is ‘Investing in Agriculture for Food Security’. This must be written clearly on your poster (in any language) Your poster can be between 30 x 40 cm and 50 x 70 cm (see me for paper). Aim to illustrate the idea of self help rather than hand outs to the poor. Have a look at www.fao.org/wfd/ and also www.feedingminds.org for more ideas. Do a couple of pages of research and studies in your book before making the final poster. Be bold – which posters do you remember most clearly? which were most effective in communicating their message to you?

Remember lots of nice drawings, clear legible notes, a few photographs - this is the start of your Research Workbook - make it look attractive and interesting. Total 14 sides minimum, split between the three tasks.

http://saintgeorgesart.blogspot.com/ is the Art Department Weblog. I add useful ideas, information and links to this fairly regularly so check it out.


Year 12 IB Art Holiday Task

The Research Workbook tasks:

Part One : (5 sides) During the summer you are to visit at least one gallery or exhibition (it doesn’t have to be in Rome). Write and illustrate a review of your visit. It is often better to write about work that you have seen which you like - but it isn’t essential. Whether your critical writing is positive or negative, it must be thoughtful - not just “I don’t like this, it’s boring” or “ I like this because it’s realistic”. You’ve all done critical writing in your G.C.S.E. Art course - remember?!!! Consider issues such as:

· Scale - how does a work of art’s size affect the viewer (and how is seeing an actual work of art different from seeing a reproduction in a book ?)

· Materials - what is it created from ?- why? - what effect does the material give?

· Content - what does the work represent ? does it tell a story ? give your personal interpretation.

· The Artist - Who ? When ?

· Even basic descriptions of colour, shapes etc. are useful - how is the mood or atmosphere of a piece affected by the artists use of colour, texture, line, pattern etc. ?

· Value judgement - is the piece successful ? Why ?

Part Two : (5 sides) Record a visit to a specific building, built environment or monument. Examples: Piazza Navona, The Pantheon or Trajan’s Column etc. etc. They don’t have to be “old”, but it’s probably best to avoid writing about “the porchetta stall near my house” !

In your written and illustrated report, record your observations whilst considering issues such as:

· Scale - how does the building, monument or built environment relate on a “human scale” - does it “dwarf” people - why? (to impress, to accommodate a specific use, to inspire fear, devotion etc.)

· Inspiration/style - can you see any connections with art or design movements (Art Nouveau, Neo Classical, Art Deco, Modernism? Etc.)

· Decoration - is it decorated ? Why? - Why would you decorate a building? In what style ? Describe - organic (plant forms etc.), geometrical simplicity etc .

· How well does the space, monument or building fulfil its intended role ?

· How does it relate to the location in which it is placed (natural environment, other buildings etc.?)

Part Three : Preparing for Year 13 Coursework Projects

At least 10 sides relating to images, artefacts, techniques, experimentation observations and artists’ work connected with your chosen theme for you first personally directed project. Good preparation is essential for a successful project. Take loads of photographs, make loads of drawings – even stuff which is too large to fit in your book. Go nuts – develop an obsession!

Remember lots of nice drawings, clear legible notes, a few photographs - this is the start of your second Research Workbook - make it look attractive and interesting. Total 20 sides upwards, split between both tasks.


At least one major piece of NEW studio work relating to your chosen theme. This could be a large drawing, painting, sculpture etc. It could be a project in its own right or a high quality ‘study’ leading up to an even more ambitious piece of work. It should be at least equivalent to your Tuscany canvas in terms of quality and time spent on it.

Work to the best of your ability. You will be amazed how fast those 2 remaining terms of IB Art will go. Don’t forget – there’s no final exam in this course. It’s just you and your Research Workbook and the studio work that get the final grade…

Thursday, May 18, 2006

The Design Museum A fantastic source of ideas for all of you!


Sunday, April 09, 2006

Year 12 I.B Art

Easter task (included in RWB work from 10th April – 10th may)

Critical & Contextual Research

Writing about and comparing the art & artefacts of a diverse range of peoples and cultures is often an aspect of the course which many students find difficult. Through your ongoing research into the work of other artists, designers and craftspeople you need to develop and display an understanding of the interactive relationship that exists between the sculptures, paintings, clothes, films, buildings, teacups, masks etc that have been made by and the people that made them and for whom they were made.

For example: Italian Futurist Art was inspired by the technology of the heavily mechanized era in which it was created. Electricity, aircraft, racing cars etc were all exciting new phenomena at the start of the 20th Century. Artists such as Balla and Severini made works that expressed the energy and movement of the new world around them. This mood of optimism was killed (along with many of the artists that made up the Futurist movement) by the horrors of modern warfare that began with the First World War in Europe. Could you imagine artists working in the polluted 21st Century making painting that praised the motorcar?

Part One: You are to produce 8 or more new pages of writing, diagrams and illustrations in which you answer the following critical and contextual question:

‘How do religious buildings from a variety of cultures reflect their function and the context within which they were created?’

You should focus on buildings that you have first hand knowledge of including the temples, churches, cathedrals, synagogues, mosques, chapels and other places of worship and religious gathering that you have visited in your life. Rome can offer you plenty of examples from a diverse range of cultures and religions if you have not visited such buildings elsewhere.

Talk about how the forms of the buildings (shape, height, scale in relation to humans, orientation (facing a specific direction) are related to their function. Explore how the decoration (or lack of it) reflects the beliefs, views and teachings of the people for whom the building was constructed. Is the building adorned with images of gods, and other representational imagery or geometrical patterns? Is the building elaborate or plain embellished with precious materials or kept simple? What is visible inside the structure? How does this relate to the processes of worship, prayer, gathering etc? Are there works of art inside? What is their function in the context of the building? Altars? Tombs? Monuments? Pulpits? Lecterns? Seating?

Links (to start you off...)



Ancient Greek

Hindu Temples


Japanese Buddhist Temples


Part Two:

Visit an exhibition or gallery. I particularly recommend the current exhibitions at MACRO (go and see for yourself). Respond to the works on show visually and through writing. Bear in mind the criteria that I have given you in previous handouts (‘How to look at a work of Art’ etc.) and the sort of things that you will be considering in Part One. You don’t have to ‘like’ something to respond successfully to it in a critical sense!

(5 sides or more)

Part Three:

Continue to develop your current project – write & illustrate a record of how it is proceeding and how it might develop in other ways. Make sure that you have done adequate additional research for your next project. The research and development work is graded along with the studio work itself – you have to show where your work came from and how and why it evolved.

(Total 20 sides or more) Use the links at http://saintgeorgesart.blogspot.com/ for extra help

Tuesday, March 21, 2006

If you are interested in

a) fairies

b) mechanisms

c) interesting sculptures

click on this link

SGBIS Art Department scoops most prizes at RISA Exhibition

Saint George's students were awarded 8 prizes in the 2006 RISA show (Marymount only got 3!)

Wednesday, February 15, 2006

Picasso Museum

Gaudi Info

some monkeys

No excuses!

Year 12 IB Art Half Term Checklist

By Monday 6th March you should have completed:













Planning your next projects.

After the holiday you will complete 3 A1 studies based on imagery from Barcelona (Graphite, Collage, Ink etc)

Then you will start your own projects developed from your Barcelona work.


Plan, research and create 2 or more major studio pieces inspired and developed from your Barcelona trip and associated studies.

Available media:

Clay, Batik, Cardboard. Wood, Oil Paint, Acrylic Paint, Lino Printing, Digital Media, Wire, Chicken Wire, Latex, Stucco, Plaster, Ink, Graphite, Fabric, Paper, Adhesives, Found Objects, Watercolour, Collage Materials, Dyes.

You can sculpt, sew, print, paint, assemble and draw in any combination of the above media in both 2 and 3 dimensions.

Your work might explore:

Colour, texture, line, form, surface, light, pattern, movement, and structure in relation to the imagery, artefacts and environments that you explored

You will need to adopt a developmental and experimental approach in order to achieve the best result. Don’t just think of one idea and stick to that. Be wild, develop an obsession – push your ideas to the limit! Devote 10 sides minimum to the planning of your own ideas for this project – explain your ideas and decisions in detail.

Wednesday, January 11, 2006

Miro Foundation

Have a look at this site - we should be visiting this museum on Thursday afternoon.

Sunday, January 08, 2006

One month until Barcelona

Here is a bit more info on the hotel: