A table that cooks your hotdogs?
Art - it's all that you'll ever need

TRY THIS

CLICK HERE

Turn your photos into stencils:

HERE!

if you like the picture click it to go and make your own.....

click the picture not the words butter ball turkey

seriously - don't bother with the turkey stuff!

Oh and don't forget the podcast

An Artist who works with 4 dimesions

Great for Steph, CC and any of you who like things that move!

THE BIGGEST DRAWING IN THE WORLD!

TALKING ABOUT ART

A podcast of IB Art lesson discussions!

what are you waiting for? Click the picture!

THIS looks INTERESTING

Part One of the Fischli & Weiss Video (find the others on You Tube)

Year 12 Research Trip

HERE

Have a good read of the background information for the 3 exhibitions

Critical & Contextual Research Tasks (read through them all and then choose ONE)

These are reasonably loose themes that you could deviate from slightly during the evolution of the outcome. However, the final outcome, spread over 8 continuous sides of your RWB should include at least 1200 words of ORIGINAL text. Of course you may refer to books, websites and so on. However, as usual you must acknowledge every source (author and title or website address is fine). Make rough notes on paper first rather than plunging straight in – plan the task a bit like an essay. Don’t worry too much about 5 hour stunning picture pages. Use drawing and painting selectively to draw attention to very specific details. Stick printouts (smallish and RELEVANT) amongst the text to support your arguments and descriptions. No rainbow backgrounds etc – this text must be easy to read – but don’t actually type it out and paste it in! Which ever them you choose you must focus on describing the works in detail with good use of Art specific language. Use metaphor, but not waffle! Compare work from different cultures/time periods. Explain the CONTEXT in which the work was made: by whom? For whom? When? Why? What is its function? The work needs to be legible and well presented, but the content is the key – written and visual, so don’t spend hours decorating these pages. Where possible make connections between the work that you are describing and your own projects and interests.

1: 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. Does an artefact (such as a mask) with powerful symbolic meaning in its native culture become something else (for better or worse) when transplanted to a gallery. Does putting an ‘everyday’ object into a gallery make it into ‘Art’?

2: 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 clichés 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

3: ‘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)

4: 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

5: How has the image of women (as a subject) in Art changed through the 20th century?

• Liberation?
• Emancipation?
• Effects of 2 world wars, new technology etc…
• Political change including the vast increase in the number of women artists.
• Feminism.

Look at Picasso, Klimt, Modigliani, Giacometti, Warhol, Gwen John, Frida Kahlo, Dali, Freud, Jenny Saville, Paula Modersohn-Becker, Tracey Emin, Mona Hatoum, Sarah Lucas, (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)

6: Abstraction, patterns and geometry

How can artists express meaning without showing ‘realistic’ cows, people and hills in their work? OK this title is a bit flippant, but for this project you will compare the ways in which artists and craftspeople from at least 2 different cultures avoid direct representation in their work yet still tell us something about the world and society in which they live and make their Art.

This might include aspects of 1950s American Abstract Expressionist painting http://en.wikipedia.org/wiki/Abstract_Expresionism ,

traditional Islamic architectural patterning see http://en.wikipedia.org/wiki/Arabesque

or some forms of Australian indigenous Art see: http://en.wikipedia.org/wiki/Australian_Aboriginal_art

(the wikipedia links are only there as very basic starting points.

Colleen McCubbin Stepanic

Something for everyone in here - so have a good look around!

Matthew Collings & Emma Biggs

Artist/Critics - read what they say about THEIR OWN paintings...

HERE

http://www.esraroise.com/

Year 12: Current RWB tasks (10 of the next 22 sides)

2 links:

ONE

TWO

lots of amazing links - look at all of them!

Then choose 2 artists/designers from each site and produce 10 sides (split between the 4) of funky, illustrated, critical & contextual research - where is this work coming from? Who is it made for? How does it reflect the time period/society that it evolved in?

AND - HOW WILL IT RELATE TO YOUR OWN NEW WORK?

TOTAL 10 SIDES SPLIT BETWEEN THE 4 ARTISTS/DESIGNERS (THAT'S 2 MAIN SITES AND YOU CHOOSE 2 DIFFERENT PEOPLE/COLLECTIVES FROM EACH)

plenty of notes needed - yes even whole pages (but NOTHING just copied out or pasted)

Josh Kenyon

Illustrator/Designer

Anselm Kiefer

Look Year 12s!

Just because your project starts off with a 2 dimensional support it doesn't mean that you are limited to working with 'flat' paint....

Ken Kiff

(thought that a few of you might like this strange and lovely artist)

CLICK HERE for more

SHOCK NEWS! Art made by people who are not dead Italian Men! No really CLICK ME!

work by Tom Phillips

For y12 & 11 - A link to Flowers East Gallery (lots of interesting artists)

CLICK HERE or HERE or HERE!

Look Clio!

Click on the picture for more images

http://lostworksheets.blogspot.com/

Madrid, Japanorama etc

I'm not suggesting that you try this at home...

graffiti brazil

An interesting book designer

CLICKY

James Jean

(don't forget to look at his sketchbooks...)

Click HERE

Tom Wood He's just fantastic (I think) Look Here (and particularly check out the galleries of his paintings and sketchbooks on the right side)

LOTS OF SKETCHBOOKS & ARTISTS JOURNALS

HERE

Some intriguing computer based art

HERE CLICK HERE!

Santa's Ghetto

LOOK - ART IN CONTEXT!!!!!!!!!!

Anatomical ideas in different times and cultures

surely this must be useful or interesting to some of you?

(click the picture)

Videos that you will

LOVE

Some amazing illustrators: CLICK HERE

Interesting Photographer

Marisol - She might help jump start some ideas amongst Year 12s planning their own sculptures...

More Marisol

GARY TAXALI

Try this!

(CLICK)

An artist's blog (click here)

Some painter/illustrator site

Austin Shaw (CLICK)

Click Here For More

Excellent morphing film

Summer Task for New IB Artists

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 first Research Workbook. The Research Workbooks record your personal investigations, practical experimentation, historical and contextual studies and developing studio work in the form of essays, illustrations, notes, photographs etc. They account for 40 % 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.

Your first school-based project will begin with the development and creation of a sculpture that combines ideas of portraiture and representations of the human head from a variety of cultures.

The Research tasks:

Portraiture: Part One : During the summer you are to visit at least one gallery or exhibition that includes some works of art that take the human face or head as their main theme (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?

Portraiture: Part Two

One ‘portrait/head’ related art form that is present in many diverse cultures is the mask or head dress. Therefore, as part of your research will fill at least 6 sides with drawings, paintings, photographs and notes on this theme 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….

It is vital that you describe the masks and headgear in detail, both through your drawings & paintings and through notes which discuss their visual appearance, function and also WHY THEY WERE MADE. What function do they serve in the society that uses them?

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

The theme of the poster is ‘The Right To Food'. 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.

NO PART OF THIS WORK IS ‘OPTIONAL’ !!! HAVE A GREAT SUMMER

CLICK HERE

use your

imagination

ODD NERDRUM!

A great website about books - including artist made books and sketchbooks (not the same thing!)

CLICK ME

OK - you think that Reading is a cool festival? Ha - even Mr Morgan has done that one!

What you need is

BURNING MAN

This is really great too - paint your own dancer, give it a name and watch it dance in a crowd of clones!

HERE

Click Here => Ron Mueck

Almost certainly the coolest thing you will ever see on the internet!

CLICK HERE

be patient it will take a couple of minutes to load

This is probably what Renesa's brain is like....

Year 12 IB Art:

Developing new projects

You will have completed a huge amount of drawn, painted, collaged, written and photographic research by now (30 sides and upwards in your RWB plus the other Venice studio work on paper). Which aspects of this work you use to inspire your next projects are up to you.

Between now and the end of the year you will complete at least 2 major studio projects. One will be mostly 2 dimensional. The other can be in any combination of media and dimensions (2, 3 or 4) that you like. From now until Friday 23^rd March you will produce 15 new sides in your book (10 for Standard Level) They will be the beginning of your self initiated projects, but will specifically evolve into the 2D project (usually the easiest/safest way to begin)

How to start:

From the following list of words select THREE to develop into a focus for your projects:

LIGHT DECAY STRUCTURE MOTION LINE PATTERN

COLOUR TEXTURE SURFACE LIQUID CHANGE TIME

RHYTHM LAYERS ATMOSPHERE FORM SOLID RESIDUE

6 sides:

For each of your 3 chosen words produce a double page spread of collaged words, ideas, images and sketches that relate that word to your experiences and research from the Venice trip.

6 sides:

Experimentation with 2D images and techniques: Collage, photography, digital manipulation, drawing, painting, oil pastel batik, text, etc. Don’t set out with a finished idea in mind. Focus on your 3 chosen words as your direction (combined with photocopies of your own drawings and photographs from Venice). Take risks. Work back into pages in new and unusual materials. No grey pencil on these pages at all!!!

3 sides: Begin to develop more elaborate/final written and illustrated ideas for your own 2D project. Use notes to explain your decisions – don’t worry if it sounds crazy – be descriptive and inventive in your use of language.

Remember the final outcome has to be the ‘equivalent’ of a large studio painting/sculpture in terms of time, effort and quality. That means it could be a series of smaller/quicker pieces that work together.

You will notice that you only have to do 15 new sides this month – the rest of the time is for improving your Venice pages – extend notes, add further highlights/quality to drawings etc.

From March 26th until Friday April 20^th you will begin to develop 20 sides of ideas and research for your second project – still Venice + your 3 words but in any combination of 2, 3 and 4 dimensional media.

Final information for Y13 Art

Final deadline for all Studio Work and Research Workbooks is March 9^th. Anything given in after this date will not be marked by myself or the external examiner or included in the exhibitions. There can be absolutely no exceptions to this deadline.

Research Workbooks will not be available to candidates again until the day of their interview. They must then be left in school until the final Diploma grades are published.

Candidate Record Booklets must also be completed before March 9^th. This includes:

• Photographs of 12 of each candidates best projects. Some projects may need 2 photographs to show them properly. Candidates take all photos themselves. The Art department will arrange printing if cropped and checked jpeg image files are provided to Mr Morgan no later than March 5^th.

• 20 pages from the 360+ pages that an average candidate is expected to produce are selected (in consultation with myself) and photocopied. If candidates want colour photocopies then they will have to make their own outside of school. This is highly advisable in the case of colourful pages!

• Candidate Statement – Candidates will start on these next week 300 words max.

Students have from 12^th – 21^st of March to set up their exhibitions. On the 21st I will mark the final exhibitions and submit final grades. On Monday 26^th & Tuesday 27^th students will have mock interviews with myself and their peers in their own exhibitions.

Interviews with the external examiner will take place on March 29^th & 30^th.

Antony Micallef

Paper sculptures

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 9^th)

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 9^th 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)

Calatrava

Interesting Installations

MAKING SENSE OF MODERN ART

CLICK ON THE LINK AND WORK THROUGH THE SITE

THIS WILL HELP YOUR CRITICAL WRITING ABOUT ART A LOT!

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 clichés 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

.

Year 12 & 13 RWB task

Go to this GALLERY

(online!)

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!

More Banksy

Try This!

Turner Prize 2006

Have a look - who should win?

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

Beksinski

Lovely Web Site

BANKSY

(Genius)

American influence on Anime (Renesa Extended Essay)


see I was right!


and for Alana

Ridley Scott

A book created by 4 artists:

BOOK


like an RWB, but shared

Look at this stuff (esp. Renesa!) YUKO

Salvador Dali - Lanvin Chocolate

A great illustration site

Alessandro Bavari

Do have a good look and also watch Head Cleaner