Year 9 a sense of place

TC#7: BUILDING CONNECTIONS

ABOUT

This resource has been designed for KS3 teachers and students and links closely with Threshold Concept 7: Art is not fixed in meaning, context is everything

KEY THEMES

Art can mean different things to different people, at different times.
Interpretations of art are shaped by knowledge, experiences, presumptions and prejudices.
Artworks are evidence from a specific time and place, shaped by ideas and (inter)actions.

IN PICTURES

To begin, here are 3 artworks to demonstrate that art is not fixed in meaning, and that context can shape how we see and what we think.

Context means the background information or surrounding circumstances that help explain something (e.g. an event, idea, word or artwork, or even how we see, think or respond in any given moment).

Remember your initial feelings and interpretations are valuable and worth considering, even if the artworks are unfamiliar. The artist's names, artwork titles and dates are included, and these can sometimes provide insights or clues. The slideshow beneath the images offers further context.

Femme Maison (1994) by Louise Bourgeois

Judenplatz Holocaust Memorial (the Nameless Library), Rachel Whiteread, 2000

‘Brick House’ by Simone Leigh, 2019

PART 1 BUILDING BLOCKS - A TRADITIONAL APPROACH?

You pile up associations the way you pile up bricks. Memory itself is a form of architecture. Louise Bourgeois

This lesson starts with a series of observational drawings of a Lego brick. This may sound appealing, or quite boring. Importantly, there is context to why you are being asked (or told, in fact) to do this, and taught how. But, for now, I'm not going to explain why.

Why do you think you are being tasked with drawing a Lego brick? How do you feel about that? To think about this further, questions you might reasonable ask are:

Who decides what we do in art lessons, and why? What might be their hopes, motivations and/or restrictions?
How will I (or others) benefit from drawing ,or learning to draw, a Lego brick?
Of all the objects in the world, why a Lego brick?

ACTIVITY

Above and below are various pictures of a lego brick. Consider how they differ, why, and which appeal most. In your lesson you will work from direct, first-hand observation (real life looking at a Lego brick). Why do you think it is significant to do that?

Complete the following studies of a lego brick:

1. Orthographic Projections
This is a formal method of drawing a 3D object from flat, direct viewpoints. Complete the following drawings. Try 2 versions of each, one with a ruler and one without.
- a plan view (aerial view of top of brick)
- an elevation view (directly from the side, at eye level)

Do you prefer to produce something controlled, measured and technical, or something more quickly sketched? Which do you consider more skilled or rewarding?

2. Perspective drawings
Perspective drawing is a (mathematical) system for representing three dimensions on a 2D surface. There are various perspectives (and complications) we might consider. To begin try a one-point perspective drawing. This is helpful to introduce the concept of a Vanishing Point (a point on the horizon line where parallel lines appear to meet.). Once complete, try a two-point perspective. This is helpful for a corner view of the brick where two sides are in view.

To complicate matters, a Lego brick has circles/cylinders on top. When a circle is viewed from an angle it will appear squashed and oval-shaped. This is called an ellipse.

3. A study of form and tone
To create a more detailed drawing (illusion, even) of the Lego brick, you can pay increased attention to its form (3D) and tone. To do this, identify how the light and shadows fall upon (and alongside) the brick. For example, which side is darkest; where are shadows or highlights evident? Aim to replicate the tones and gradients by shading carefully with your pencil.

One-point perspective example

Two-point perspective example

Source: https://creativeformsketching.blogspot.com

Additional questions (and contexts) to consider and discuss:

Have you ever been taught to draw in one or two-point perspective before? if so, where and why?
Do you think this is a valuable skill to learn? Why or why not?
Do you think the ability to draw 'realistically', in a 'traditional' or 'technical' way, is important for an artist? Has this always been the case?
With a class set of responses, is it easier to grade these drawings compared to, for example, art which is from the imagination?
Would you rather draw one Lego brick, or play with a big pile of Lego–and why? What are the benefits or missed opportunities?
Does seeing a Lego brick, or playing with Lego, spark particular memories or meanings to you?
How might a Lego brick link to the 3 examples of art shared in the introduction, above?
How might a Lego brick be a metaphor for learning in art?
Given the choice, would you prefer to be taught to draw in a formal, 'accurate' way, or would you rather draw as you do, however you wish? What benefits or problems can arise with either approach.

PART 2 FRACTURING THE BLOCKS - A MODERNIST APPROACH?

Let's revisit these inaccurate sketches of a Lego brick. They appear to distort the brick in ways that might be comparable to a young child's attempt. The perspective is skewered and more sides can be seen than would be physically possible, unless the Lego brick has been squashed or contorted.

Whilst ('traditional') artists who work to established techniques and rules might consider these wrong or poor quality, they do invite connections to more Modernist ideas in art.

PART 3 THE BRICK - A CONTEMPORARY CHALLENGE?

INSTRUCTIONS - READ CAREFULLY (AND ALSO THE CONTEXT PROVIDED FURTHER BELOW).
For homework, you are required to either:

Find ONE, regular-sized brick and bring it to school.
- Try to do this on your own (rather than, say, asking someone to buy you a brick, or bring one in for you).
- IMPORTANT: do this legally, sensibly and safely (For example, DO NOT cycle to school with this in, or with, a heavy school bag).
- Consider the effort and performance involved in this. For example, how you may have to explain the task to a parent/carer, or ask a neighbour, or how you have to carry it to school safely and responsibly.
- Make a note of where the brick is from, how you obtained it, what it may have been used for previously (or intended to be used for).
- Once in school, hand it in to the art department immediately, with your name on.

Complete a sensitive, life-sized pencil drawing of a brick.
- This should be on a blank A4 page only (I can provide this, if needed).
- Take at least 30 minutes and pay particular attention to the tone and texture.
- A line drawing only, or a quick sketch in pen, or a drawing on lined or folded paper will not be sufficient.
- Once completed as directed, submit this with your name on and I will provide an actual brick for you to use in class.

Hand write a short, thoughtful text, poem or song, no less than 1o0 words, about ... a brick.
- This should be on a blank A4 page only (I can provide this, if needed).
- Do not use Ai.
- Be imaginative, playful, creative, absurd, political, profound - whatever you choose. But do think, care and enjoy.

CONTEXT

The above task is not without challenge or potential risk. Many teachers, parents/carers and education specialists advocate for challenge and risk in education, but rarely agree on what this might look like.
You or others might consider this challenge absurd or pointless; it's not, like logging on to Sparks to do your Maths homework, for example. But it does invite you to make decisions on your own terms; to be resourceful; to communicate with others; and to move to physical action.
Finding and carrying a brick to school is not a 'traditional' art homework, but it does have wider (to be revealed) connections to other areas of art, including Instruction-based Art, Performance Art and Conceptual Art. As it is, the brick will also be used in subsequent lessons as a resource.

ACTIVITY

Once everyone on your table has either brought in or gained a brick (via completing a drawing or text), carefully consider the whole collection you now have. Look for and compare the subtle differences, in colours, textures, scales and stories.
Your group challenge is to creatively respond to what you have AND put on - plan and curate - an exhibition/display of your bricks and brick-related artworks. You might wish to:

Arrange these in a particular way, thinking about how viewers might encounter the collection.
Write labels, titles, accompanying text.
Create accompanying artworks, sounds, explanations or activities.
Present a museum-style display (e.g. an informative and factual archive), or, alternatively, something more imaginative and experimental.

Off-Ground is a photo-book by British artist Stephen Gill. It contains 12 full-page photos of individual bits of brick and rubble, and it is printed on newsprint, like a newspaper. This is Gill's response to the London riots in Hackney in 2011. Rather than capturing the chaos of the streets, Gill sought out, collected and photographed pieces of rubble and bricks that he had tracked from news reports. The book is an attempt to order and archive chaos; a calm, poetic and conceptual reaction to the media sensationalism.

Headline from 2011 London riots

Source: https://www.theguardian.com/uk-news/2021/jul/30/conditions-2011-uk-riots-still-exist-today-experts-warn

The images above are from the 2011 riots. Disorder began in Tottenham following the fatal police shooting of Mark Duggan. What started as a peaceful protest quickly escalated into violence, arson, and looting. Hundreds of local shops were damaged, many buildings were burned, and over 3,000 people were arrested. Key causes discussed included poor relations with the police, social inequality, poverty, and opportunistic criminal behaviour. The riots caused severe damage, sparked national debates on social opportunities, and inspired powerful community clean-up initiatives across all affected English cities.

IN DISCUSSION

IN words

In THE ARTROOM

The following slideshow supports the potential sequence of lessons set out below:

Click here or on the image on the left to see a short clip of Grayson Perry talking about his Map of Nowhere, 2008. In this Perry describes how he created this ambitious work that reflects on his personal worldview and what he describes as "a parody of the intellectual constructs of religion."

How might you create a map as a form of self-portrait - a way of documenting your own environments, people, memories, hopes and/or experiences? What scale or shape might this take? How might you draw or design this? How might this then be developed further, perhaps into something 3-dimensional, animated or interactive?

Many artists have been driven to radical creative action in response to injustice in the world. An artist's actions and artwork might be prominent in its time - publicly ridiculed and/or celebrated; considered unifying or divisive - or might go unnoticed or be suppressed, perhaps only coming to light within new, revised contexts. Consider slides 10-14 in the slideshow. These share examples of works that, directly or indirectly, have been driven by personal experience and conflict.
At a time of pandemic and political unrest, of environmental crisis and social and racial injustice - how might you utilise artwork as a way of expressing your feelings and speaking truth to power? How might the images or words you choose, the marks you make, the ways in which you choose to make them etc. draw attention to an issue that you feel passionate, enraged or anxious about? How/where might you be able to share this work and message wider as a force for good?

Advance is difficult and departure from the accepted path is dangerous; but difficulty and danger are old acquaintances. Elizabeth Catlett

TC#7: BUILDING CONNECTIONS

ABOUT

KEY THEMES

IN PICTURES

PART 1 BUILDING BLOCKS - A TRADITIONAL APPROACH?

ACTIVITY

PART 2 FRACTURING THE BLOCKS - A MODERNIST APPROACH?

PART 3 THE BRICK - A CONTEMPORARY CHALLENGE?

ACTIVITY

IN DISCUSSION

IN words

In THE ARTROOM

FURTHER READING