Environmental art teachers resource
Upcoming SlideShare
Loading in...5
×
 

Environmental art teachers resource

on

  • 587 views

An educational resource for teachers to accompany Chris Drury's sculpture 'FingerMaze' in Hove Park. ...

An educational resource for teachers to accompany Chris Drury's sculpture 'FingerMaze' in Hove Park.
The pack supports environmental education and puts Drurys work in the context of land and environmental art movements. Suitable for KS1-3

Written by Janette Cullen and designed by Dave Flindall.
Commissioned by Brighton & Hove City Council's Arts & Creative Industries

Statistics

Views

Total Views
587
Views on SlideShare
324
Embed Views
263

Actions

Likes
0
Downloads
0
Comments
0

1 Embed 263

http://www.learningandart.co.uk 263

Accessibility

Categories

Upload Details

Uploaded via as Adobe PDF

Usage Rights

© All Rights Reserved

Report content

Flagged as inappropriate Flag as inappropriate
Flag as inappropriate

Select your reason for flagging this presentation as inappropriate.

Cancel
  • Full Name Full Name Comment goes here.
    Are you sure you want to
    Your message goes here
    Processing…
Post Comment
Edit your comment

Environmental art teachers resource Environmental art teachers resource Document Transcript

  • to accompany ‘Fingermaze’ in Hove Park Schools Resource - Background to THE commission and Drury’s work in general - Background to Land and Environmental Art- Teachers notes to accompany POWERPOINT of artists works (KS3/4) - Suggested PROMPT questions for teachers to accompany PowerPoint (KS1/2)- Lesson Plans AND Activities to incorporate into ‘Fingermaze’ visit - Follow up and extension activities - Links FEB RUARY 2007
  • ABOUT THIS PACKThis pack was commissioned by the Brighton & Hove Arts Commission and city council’s ‘Eco-Brighton’ programme to raise awareness of a new sculpture by Chris Drury in Hove Park. This in turnaims to raise awareness of our relationship with the environment and to generate a broader generalenvironmental debate through the medium of arts.‘Eco-Brighton’ is part of a two year cultural programme called ‘Making a Difference’ which istaking place in Brighton & Hove. ‘Making a Difference’ aims to transform the cultural life of the city,make a difference to people’s lives and develop the city’s reputation as an international city of culture.The programme is being overseen by the Brighton & Hove Arts Commission and is ‘managed’ by anexecutive team at Brighton & Hove City Council. It is funded with lottery money through the UrbanCultural Programme.There are four principal strands of the ‘Making a Difference’ programme; creating new work,transforming the city, living in Brighton & Hove and working in Brighton & Hove. ‘Eco-Brighton’ fallsunder the ‘transforming’ strand that focuses on transforming the physical environment of the city.‘Eco-Brighton’ is made up of a number of projects with a broadly environmental focus.The resource’s main curriculum focus is Art & Design and is aimed at Key Stages 2 and 3 but canbe readily adapted for younger and older students. The lesson plans could be used as they are or tosupport existing schemes of work. There are also activities with suggestions for using the sculptureto generate debate and awareness about environmental issues.CONTENTS1. Background to the commission and Drury’s work in general2. Background to Land and Environmental Art3. Teachers notes to accompany Powerpoint of artists works (KS 3/4)4. Suggested prompt questions for teachers to accompany Powerpoint (KS 1/2)5. Lesson Plans and Activities to incorporate into ‘Fingermaze’ visit6. Follow up and extension activities7. Links PAGE ONE
  • 1. Background to the commission and toDrury’s work in generalChris Drury is an internationally renowned artist who works with nature; it’s patterns, materialsand forms. He was born in 1948 in Colombo, Sri Lanka and studied sculpture at CamberwellSchool of Art. Much of his work explores the connections between common patterns, shapesand movements that can be found in the natural world as well as in our own bodies. A themethat underscores all of the artist’s work is his belief in the interrelationship of all life, man asnature and not apart from it.His work includes site-specific, nature-based installations such as temporary stone and woodenshelters, more permanent stone Cloud Chambers functioning as camera obscuras, as well asbundles of collected plants, stone whirlpools and mushroom spore prints.  Drury has createdenvironmental pieces all over the world.Chris Drury was selected from many artists who responded to a brief to produce a piece of art inHove Park based around an environmental issue and to promote more sustainable ways of living.The brief also required that the piece “enhance people’s experience of the city’s green spaces andcommunicate the contemporary message of environmental awareness.”The work Drury made in Hove Park, titled ‘Fingermaze’, incorporates the design of a labyrinthinto the patterns and whorls found in our fingerprints. These patterns are mirrored in the nerveendings of our fingers, the way in which liquids and blood travel through the body, in theweather system in the sky and patterns in the solar system. Chris refers to these vortex patternsCONTENTSas ‘a universal flow’. It is a recurring theme within his work and is exemplified in another of hisworks in Lewes, ‘The Heart of Reeds’.On another level, ‘Fingermaze’ refers to how we touch and connect with the world and alsoalludes to human impact on the natural world.Drury works both in galleries and outside. Often the pieces are temporary, like the mown‘Fingermaze’ in Stanmer Park. ‘Fingermaze’ Stanmer Park. Mown in to grass, July 2006. PAGEPhoto by Roger Bamber TWO
  • Sometimes they are living... ...and many are permanent, like the piece in Hove Park‘Heart of Reeds’ Living Reed bed, Lewes. 2004-present ‘Fingermaze’ Hove Park, Stone and lime mortar. Photo Matthew AndrewsThe labyrinth design used in Hove Park is based on a Cretan or classical labyrinth – an ancient,mystical pattern containing a meandering path to the centre, which is often used to symbolisethe journey through life. A labyrinth differs from a maze in the sense that it has only one path tothe centre, with no tricks or decisions to take. This is a right brain activity that frees the mind tocontemplate. The earliest known design dates back from about 1500 BC. Labyrinths are foundin many different cultures throughout history; from ancient fishermen walking a labyrinth to belucky at sea to courtship rituals and pilgrims in churches.CONTENTSChris says: “This is a fingermaze with one path that leads you in a circuitous route into thecentre. As such it is a contemplative journey to the interior. The Hopi Indians of Arizona, forwhom it plays a part in their creation myth, say it is a symbol of rebirth, an interior wombencircled by the arms of Mother Earth. One can speculate that the female symbol was firstderived from this labyrinth. To walk the path in, and then out again is an act of renewal. Thework is a two dimensional drawing until it is walked; then it becomes a sculpture.”The materials used in ‘Fingermaze’ are York stone and lime mortar. Lime mortar was chosenbecause its production uses less energy and leaves less of a carbon footprint than when usingcement. Cement production is one of the major contributors to emissions of carbon dioxide - agreenhouse gas (every tonne of cement leadsto the release of about one tonne of carbondioxide). Over time the stones will weather andweeds and grass creep into the stones, makingthe outline more smudged and blurry like realfingerprints. Chris hopes that the piece willbecome assimilated into the life and landscapeof the park and give people something towonder about. PAGE TH REE
  • 2. Background History of Land andEnvironmental ArtLand art has a history that stretches back into ancient times in many different cultures forexample; cave paintings in Lascaux and the line drawings of Nazca in Peru.More recently, during the 60s and 70s, the term Land or Earth art came to refer to art thatconcerned itself primarily with the natural environment. It was a reaction to the gallery led artmarket and the way in which art had become more of a commodity and was also symptomaticof the politics of the time. Artists became interested in the idea of art being ephemeral and notownable and began to work with natural materials in a way that challenged ideas about what artcould be. Work was made to be shown not in galleries but often in the open, subject to changeand erosion. It often focussed on the innate beauty of the natural environment to provoke anemotional response from the viewer.More contemporary artists continue to work within this tradition but have developed andexpanded ideas about what art can be and created work to address specific environmentalissues. Whereas land art started with the concept of the earth being a manipulative object,environmental or ecological art focuses more on the interrelationships between an individualand their cultural, social, economic and natural environment. Ecological art can take a varietyof forms such as a work of protest, or a work that raises our awareness of ecological issuesand the impact of our activities on the natural world. The genre may also link into socialissues particularly where they have an impact on nature (eg. water use - Mark McGowan’s TapRunning). Work such as Richard Box’s ‘The Field’ takes this further highlighting the invisibilityCONTENTSbetween human activity and the natural environment. The genre isof many of the linksexpanding as social and environmental politics, technology and awareness change.3. Teachers notes to accompany PowerPointof Artists works (KS 3/4)Aims of Images PowerPoint• To place Drury’s works within the larger context of the genres of environmental & land art.• To inform students own art work as well as generate discussion and debate about broader environmental issues across the curriculum.• To challenge and expand notions of what might be considered the genre of environmental art.• To support, enrich and extend existing good practice in schools.• To provide a lasting resource in schools which can be used creatively. PAGE F OUR
  • Notes to accompany ImagesSlide 1. Land art and environmental art. Title page.Slide 2. Lascaux cave paintingsThe caves are situated in the Dordogne in South West France and were ‘discovered’ by two boysin 1940 that were exploring the valley. They are believed to have been painted some 15 to 17,000years ago. The colours used are blacks, yellows, reds and whites produced from manganeseand ochre all of which were local to the artists. The images were probably produced by sticksdipped into ground pigment and pigments. The images are of animals that they shared theirenvironment with and hunted and probably had spiritual significance for them.Slide 3. ‘Spiral Jetty’, Robert Smithson, 1970Possibly the best-known artist of the Land Art genre was Robert Smithson, an American whosemost famous piece is the ‘Spiral Jetty’. Smithson arranged rock, earth and algae to form a longanti-clockwise spiral shaped jetty into the Great Salt Lake in Utah. The work is not alwaysvisible depending on water levels in the lake. During the 1980s the piece disappearedcompletely under 16 ft of floodwater, however possibly due to the effects of climate change, in1999 it was visible again.Slide 4. ‘Roden Crater’, James Turrell, 1974-presentProbably the largest piece of land art so far is by another American artist, James Turrell. In 1972he began work on Roden Crater in the desert outside Arizona. He is transforming an extinctvolcanic crater into a huge observatory by digging tunnels and creating chambers from which toCONTENTSspace whose art is as much in the light of space and objects as it is in theobserve the natural beauty of the desert. Concerned essentially with light, Turrell is transformingRoden Crater into aspaces created in the crater.Slide 5. ‘Incised Pyramid, Sphere, Cube’, David Nash, 2000(partly charred Cyprus, charcoal on canvas)David Nash is a British ecological or environmental artist (born 1945). He is internationallyrenowned for working with wood and his work aims to explore mans relationship with theenvironment. He only uses wood from trees that are about to or have fallen. He describes hiswork as a form of recycling. In the process of making his sculptures, he uses all parts of thewood and makes charcoal from the smallest scraps of the tree and uses it for drawing and in hissculpture.Slides 6 & 7. ‘Wooden Boulder’ Project, David Nash, 1978-presentAs well as his work with wood he has worked on the Wooden Boulder project. This projectuses nature and natural forces as the process of making the art work - the boulder is worn,weathered and moved by the elements and the artist’s role is one of observing and recording.In 1978, he rolled a large wooden sphere into a river near his studio in Wales and has beendocumenting it’s journey and changing environment since then. For 24 years it moveddownstream, sometimes getting stuck for months and even years at a time. It was last seen inJune 2003 stuck on sandbank. Nash says, “It is not lost. It is wherever it is”. PAGE F IVE
  • Slide 8. ‘Fingermaze’, Chris Drury, stone & lime mortar, Hove Park, 2006(See introduction to pack for background)Slide 9. ‘Fingermaze’, Chris Drury, mown grass, Stanmer Park, Brighton 2006A temporary piece, mown into the grass in Stanmer Park. This can be used to explore theidea of temporary pieces of work within this genre. Could be linked to Richard Long and AndyGoldsworthy’s work. Another point to explore is how ‘Fingermaze’ didn’t develop as the artistintended due to the drought of the summer.Slide 10. ‘Fingerprint Mural’, Chris Drury, earth, Montalvo, 2005Drury made this piece as part of an installation. The accompanying piece on the floor, ‘SequoiaWhirlpool’ is made from sequoia sticks arranged in a double vortex pattern. The fingerprintswere collected from residents close to the gallery and enlarged and projected onto the walls.He coloured them using earth also collected from the local surroundings.See www.chrisdrury.co.uk for more detail and interviews.Slide 11. ‘Heart of Reeds’ Chris Drury, living reed bed, Lewes, 2004‘Heart of Reeds’ is a living, evolving reed bed, created by Drury in 2004. It’s design is basedon a cross section of the heart and the way in which the water moves through the form echoesthe way in which blood travels through the heart. This pattern recurs throughout Drury’swork. See www.heartofreeds.org.uk for more information.Slide 12. ‘Mahalakshmi Hill Line’, Richard Long, Warli Tribal Land,Maharashtra, India, 2003Richard Long is an artist who makes art by walking in landscapes. He says “I wanted tomake nature the subject of my work, but in new ways”. Making sculpture by walking grewout of working outside with natural materials. Through using walking as art he was able toexplore the relationships between time, distance, geography and measurement. The walksare recorded through photographs, maps or textworks as a “distillation of experience”. Thisin turn has challenged traditional notions of what sculpture can be, an “imaginative freedomabout how or where art can be made in the world”. Long describes how his sculpturesinhabit the rich territory between two ideological positions, namely that of making“monuments”, or conversely, of “leaving only footprints”. This photograph records a linemade by the artist walking through the landscape of India.Slide 13 & 14. ‘A Walking and Running Circle’, Richard Long, WarliTribal land, India, 2003Photograph 13 shows the artist ‘walking a circle’ in ash. Photograph 14 shows childrenenjoying the sculpture.Slide 15. ‘One Hour’ Richard Long, textwork, 1984Long doesn’t always record his walks with photography. Sometimes using text is a moreappropriate way of “distilling the experience”. Here he records a sixty minute circle walk done PAGEon Dartmoor. SIX
  • Slide 16. ‘The Field’ Richard Box, fluorescent tubes in power field,Bristol, 2004Richard Box is an artist who is primarily concerned with light. One of his best known piecesof work, ‘The Field’, uses 1,301 fluorescent tubes, collected from hospitals and set into afield with power lines running over it. The idea developed after talking with a friend, who toldRichard how he used to play with a fluorescent tube under pylons near his house. “He saidit lit up like a light sabre”, says Box. The piece draws attention to the invisible electrical fieldsurrounding the pylons: “I wanted to describe what happened within the field…there is alwaysa power loss along any overhead power line, and the fluorescent tubes…make the power lossvisible”. The amount of light emitted by the tubes varies depending on the weather and when aperson walks in the field the amount of light plunges significantly.Slide 17. ‘Brains’ Richard Box, neon tubes in power field, Wales, 2002Although Box plays down any message within the piece about potential dangers from powerlines, he went on to develop this idea by making neon tubes in the form of a brain with a spineattached which he photographed in a field in Wales under pylons.Slide 18. ‘Enlightening Globes’, Karen Moser, mixed media, 2003Karen Moser is an artist living and working in Worthing, whose work is concerned with ourperceptions of materials. She reuses materials in a wide range of processes from ceramicsto photography and sculpture. (See Resource sheet 5 for the artist’s statement.)Slide 19. ‘Running Tap’, Mark McGowan, 2005McGowan is a controversial, performance artist who draws attention to environmental concerns.In June 2005, he left a tap in a gallery in London running in protest against water wastage. Heplanned to leave it running for a year but was threatened by Thames Water who pointed outthat wasting water is a criminal offence. Had the tap stayed on, it would have wasted about 3.9million gallons of water.Slide 20. ‘Unnecessary Car Journey’, Mark McGowan, 2005Other acts of protest by McGowan have included leaving a car’s engine running and leaving onehundred lights on for a year. He uses the media to publicise and interpret his actions and somecritics have questioned his ecological motives and argue his work is publicity based. The level ofcontentiousness is a good debating point for students.Slide 21. ‘Tabernas Desert Run’, Simon Starling, mixed media, 2004Simon Starling is a Turner prize winning artist whose work focuses on transformations. He saysthat he is: “unhappy with the relationships between people and things and ultimately seeks toalter that relationship”. This photograph shows a part of an installation he made as a result ofa journey across the Tabernas Desert in Andalucia, Spain. He made the journey on a speciallyadapted moped whose engine had been adapted to run on hydrogen and oxygen. PAGE SEVEN
  • Slide 22. ‘Tabernas Desert Run’, Simon Starling, watercolour on paper, 2004The only waste produced from this piece was the water that he used to produce a watercolourof a cactus which he saw in the desert. Perhaps his choice of subject refers to the efficiency ofthe natural world at living in its environment in contrast to mankind’s . Another of his works,‘One Ton’ is a series of five handmade platinum prints that depict the extraction of one ton ofore from a South African mine that made the printing plates.Slide 23. ‘Icarus Palm’, Douglas White, discarded tyres, 2005Douglas White is an artist who takes decaying objects, discarded waste and objects whichhave generally been cast aside as useless or irrelevant and breathes new life into them. Fromrotten trees, lightning struck pine and exploded tyres, this reinstating of objects that no longerhave a specific use provides us with a new way of looking at objects and materials. This palmused two tonnes of tyres shipped over from Belize by Ffyes the banana company. The title ofthe work refers back to the Greek myth of Icarus who flew too close to the sun. The blacknessof the rubber tyre lends the work an appearance of a charred, dead tree. Parallels could bedrawn with our own society “having flown too close to the sun in our fervent need to have itall, and our heedless pursuit of wealth at the possible cost of the planet”. It also reminds us ofDavid Nash’s sculptures using charred wood. His sculpture is part of the collection of the CassSculpture Foundation at the Goodwood Estate, West Sussex.Slide 24. ‘Sustainable Indulgence’, Justin Carter, 2004Carter made this solar powered ice cream van for Whitstable Biennale. It is a good example ofa sustainable project - using only solar power to produce ice cream and at the time when thecommodity is most needed i.e. making the ice cream when the sun shines and demand is high!4. Suggested prompt questions forteachers to accompany PowerPoint (KS 1/2)These are intended merely as prompt questions when looking at the images. There is a lot to begained from a free, open-ended discussion as students often have a huge capacity to interpretand respond intuitively to works and to make links between the works of artists.Slide 1. Land art and environmental art.Explain what the two terms, environmental art and land art mean.Slide 2. Lascaux cave paintings• What can you see in the picture?• Why do you think whoever made these images chose that subject?• How have they made the images? PAGE eight• What about the type of colours they have used? What have they painted onto?
  • The caves are situated in the Dordogne in South West France and were ‘discovered’ by twoboys in 1940 that were exploring the valley. They are believed to have been painted some 15to 17,000 years ago. The colours used are blacks, yellows, reds and whites produced frommanganese and ochre all of which were local to the artists. The images were probably producedby sticks dipped into ground pigment and pigments. The images are of animals that theyshared their environment with and hunted and probably had spiritual significance for them.Slide 3. ‘Spiral Jetty’ by Robert Smithson,1970• Which materials has the artist used here? What about the forms or shapes?Smithson arranged rock, earth and algae to form a long anti-clockwise spiral shape jetty intothe Great Salt Lake in Utah. The work sometimes isn’t visible depending on water levels in thelake. During the 1980s the piece disappeared completely under 16 ft of floodwater, but possiblydue to the effects of climate change, in 1999 it was visible again.Slide 4. ‘Roden Crater’, James Turrell, 1974-present• What do you think James Turrell is trying to communicate with his work?James Turrell is undertaking a huge project by transforming this extinct volcano into a naturalobservatory. He is building tunnels and chambers to draw attention to the beauty of thelandscape and light surrounding the crater and when the project is eventually finished, visitorswill be allowed in to view the piece of art - the crater itself and it’s surrounding environment.Slide 5. ‘Incised Pyramid, Sphere, Cube’, David Nash 2000• Which materials has the artist used?• What about the shapes? How are they different from the sort of shape used in ‘Spiral Jetty’?Explain to the students that David Nash works a lot with wood but will only use wood that isabout to be felled or has fallen (Beech in this piece). He sees his work as a form of recycling andis careful to use every part of the tree - even making his own charcoal from the smaller parts touse for drawing. He uses strong geometric, almost mathematical forms frequently. Could thestudents apply this principle when they are working?Slides 6 & 7. ‘Wooden Boulder’ Project, David Nash, 1978-present• How did the boulder end up here? Is it in its natural surroundings?• Has it been there a long time? What clues have we got?Explain ‘The Boulder Project’ to the students (see Teacher’s notes & web link for interviewwith Nash). An interesting point to pull out of these works is the role of the artist - workingwith and alongside nature. Could also be a source of inspiration for a piece of writing aboutthe boulder’s journey? PAGE nine
  • Slide 8. ‘Fingermaze’, Chris Drury, stone & lime mortar,Hove Park, 2006• Has anyone seen the sculpture in the park? Does the shape remind you of anything?• Why do you think the artist chose that form?• What materials has he used? Why?Use the teacher’s notes and introduction to this pack to put his work into context and highlightthe theme of patterns connecting us to our environment and getting us to use and enjoy thecity’s green spaces (Could link to PSHE environment work).Slide 9. ‘Fingermaze’, Chris Drury, mown grass, Stanmer Park,July 2006• Did anyone see the piece in Stanmer Park? This piece is the same form as the Hove Park Fingermaze and was mown in to the grass during the summer of July 2006 and is therefore a temporary piece.• Why do you think the artist chose to make the piece a temporary one?• How do you think the piece will change during the year?Slide 10. ‘Fingerprint Mural’ Chris Drury, earth, Montalvo, 2005• Which patterns has the artist used on the walls? What about the colour he has used?• Do the patterns remind you of anything else?CONTENTS as part of an installation. The piece on the floor ’Sequoia Whirlpool’ isDrury made this piecemade from sequoia sticks arranged in a double vortex pattern. The fingerprints were collectedfrom residents close to the gallery and enlarged and projected onto the walls. He coloured themusing earth also collected from the surroundings. See www.chrisdrury.co.uk for moredetail and interviews.Slide 11. ‘Heart of Reeds’ Chris Drury, living reed bed, Lewes, 2004• What can you see? Do you think this is natural or man-made?• Do you notice any patterns? (See teachers notes for more information)Slide 12. ‘Mahalakshmi Hill Line’, Richard Long, Warli Tribal Land,Maharashtra, India, 2003ia, 2003 • What can you see in this photograph? • Where do you think it was taken? • Why do you think the line on the ground is ‘wiggly’? • Will this sculpture always be here?Richard Long is an artist who makes art by walking. He has made walks all over the world andrecords them by taking photographs, writing texts or using maps. PAGE TEN
  • He sees his walks as land sculptures, which lie in between wanting to make monuments but atthe same time “leaving only footprints”. This photo records a walk made in rural India. The lineon the ground was made by him walking backwards and forwards. It’s ‘wiggly’ form echoes thecontours in the ground and points our eye towards the peak of the mountain.Slides 13 & 14. ‘A Walking & Running Circle’, Richard Long, Warli Triballand, India, 2003• Who do you think the person in the photograph (13) is? What do you think he is doing? Why?The person in the photograph is the artist ‘walking the circle’. He is walking in ashes. Slide 14shows local children enjoying the sculptures.Slide 15. ‘One Hour’ Richard Long, textwork, 1984• Why do you think the artist chose words to record this walk?• Why do you think the artist chose this form for the words? Is it an effective way of communicating his experience of that walk?This is an example of a piece of text work by Richard Long. This piece records his experiencesand impressions on a circular walk he made walking on Dartmoor for one hour.Slide 16. ‘The Field’ Richard Box, fluorescent tubes in power field,Bristol, 2004• What do you learn from this work? Why are ‘invisible forces’ or effects important when we think of environmental issues?Slide 17. ‘Brains’ Richard Box, neon tubes in power field, Wales, 2002• What do you think the artist is saying with this work?Slide 18. ‘Enlightening Globes’, Karen Moser, mixed media, 2003• Which materials has the artist used here?• What about the shapes?• Why do you think she chose the shape and materials?See artist statement Resource sheet 5. The materials she has used here are found materials:cork, plastic bottle tops, glass washed up on the beach, can ring-pulls and plastic carrier bags.She has used a sphere to represent the globe and the effect our use of materials has on theearth.Slide 19. ‘Running Tap’, Mark McGowan, 2005• Is this a good way to make people more aware about wasting water?CONTENTSMark McGowan is performance artist whose high profile actions draw attention toenvironmental problems. In ‘Running Tap’ he wanted to leave the tap of an art gallery runningfor a year to draw attention to water wastage. However, he was threatened with legal action, as PAGEwasting water is a criminal offence. ELEVEN
  • Slide 20. ‘Unnecessary Car Journey’, Mark McGowan, 2005• Can you think of other environmental problems that Mark McGowan could make protest acts about?Other protests have included leaving a car’s engine running and leaving 100 lights on for a year.Slides 21 & 22. ‘Tabernas Desert Run’, Simon Starling, mixed media, 2004• Why do you think the artist chose to paint a cactus?• What does the artist’s journey stand for or represent?This is one part of an installation made by Simon Starling as a result of a journey he madethrough the Tabernas Desert in Spain. He adapted the bike into a moped with an enginethat ran on hydrogen and oxygen. The only waste this produced was water that he used toproduce the watercolour of a cactus shown in slide 22. Perhaps his choice of subject refersto the efficiency of the natural world at living in its environment in contrast to mankind’s .Slide 23. ‘Icarus Palm’, Douglas White, discarded tyres, 2005• Which materials do you think the artist has chosen? Why?• The title of the work is ‘Icarus Palm’ . Has anyone heard of Icarus before?• Why do you think the artist chose this title?• Where is the sculpture?• Does it remind you of any other artist’s works?Douglas White is an artist who uses materials that might otherwise be thought of as uselessor waste and makes art with them. Here he has used exploded tyres to represent the form of apalm tree. The sculpture uses two tonnes of tyres. The title refers to the Greek myth of Icarusflying too close to the sun. The piece has a burnt out dead look to it which is in great contrastto its green living surrounding in the Sculpture park at Goodwood, West Sussex. The piececould be interpreted as society’s pursuit of wealth and ownership as flying too close to the sunand ignoring the cost to the planet. It reminds us of David Nash’s work and also the way thatKaren Moser uses reclaimed materials.Slide 24. ‘Sustainable Indulgence’, Justin Carter, 2004• What does the title mean? Can you think of any other sustainable practises?• Can you think of other ways of defining sustainable?Justin Carter made this solar powered ice cream van. It is a good example of a sustainableproject - using only solar power to produce ice cream and is a perfect exemplification of howCONTENTSonly to produce a commodity when it is needed i.e. ice cream is made when the sun shines anddemand is high! ‘Sustainable’ can be defined as something that uses natural resources withoutdestroying the ecological balance of a particular area. PAGE TWELVE
  • 5. Lesson plans & activities to incorporate into ‘Fingermaze’ visit 5.1 A visit to ‘Fingermaze’ in Hove Park to inspire making a piece of land art (All Key Stages) Learning Objectives Possible Activities Resources/ Notes Exploring & Developing ideas • Use the images to introduce the students to Chris’s work Image slide show To become aware of codes, conventions and it’s main themes. Look at other examples of artists Resource sheet 1 and ways of representing ideas through working within this genre. (KS3: Look at commission brief works of art. by Council. Resource sheet 1) • Discuss student’s own experience of other public art and To begin to understand concept & role their perceived impact of it on the environment. of public art. (KS3: idea & process of commissioning) • How do they think it will change park users experience of the park? To record from first hand observations and collect ideas to inform own work. Visit the sculpture in Hove Park Emphasise artist’s intention • How does the piece look from a distance and from up close? that an element of the work is Why do you think the artist chose this specific site and the contemplative. materials? How specific is this piece to this particular site? • Think about Drury’s statement “The work is a drawing until it Digital cameras, sketchbooks. is walked.” Walk the labyrinth. Remind students not to harm / remove living things. • Explain to students they are going to use this trip to generate ideas to produce their own piece of work in an area at school to highlight an issue (i.e. to make more people use an area, NB: Students need to walk the grass path into the centre and to improve the quality of a site etc.) not the stone path. • Look around the park; collect visual information using digital cameras, sketches, leaves, etc. to use for group sculptures at school. PAGE TH IRTEEN
  • 5.1 A visit to ‘Fingermaze’ in Hove Park to inspire making a piece of land art (All Key Stages) (CONT)Learning Objectives Possible Activities Resources / Notes In the classInvestigating & Making Withies, found natural objects,To communicate ideas in a variety of recycled or reclaimed objects. • Share opinions, data, and visual information from tripways with a range of media. to sculpture. In small groups identify an area around theTo use materials and images to If outside access is problematic school or their immediate environment where a piece ofcreate a piece of work with a specific or weather too nasty, the public art with an environmental theme could be situatedpurpose and audience. students could be given printed • Draft up initial ideas and responses, emphasising group decisions and including everyones opinions. Explain digital photos of a site gluedTo work collaboratively and adapt onto card to act as a backdrop choice of site and impact on design. The piece could beand synthesise ideas during the for smaller models or individual ephemeral or semi permanent but should be sympatheticmaking process. pieces of work. to environmental issues. It could be functional i.e. a shelter / arch from withies or decorative / sculptural. (See Drury’s woven shelters). Materials could be natural, found objects (from trip?) or recycled / reclaimed. • Present initial sketches and designs to the rest of class for feedback. Adapt and modify designs. • Make own piece of work and photograph. Groups could then incorporate all aspects of process - initial designs, materials, modifications etc. to present their work to aEvaluating & Developing larger audience.Work • Review and evaluate work with rest of class. Why is theTo analyse and evaluate own work. piece successful? What problems were there to be solvedTo reflect on process and express during the making process? How have materials been used?opinions and judgments. To respond to Does the work achieve it’s aims?others’ and own evaluations of work. PAGE FOU RTEEN
  • 5.2 Earth fingerprints (Key Stage 1/2)Chris Drury has made series of works based on the patterns or whorls found in fingerprints. When he made “Fingerprint Mural” (see slide 9and web links) Drury projected images of fingerprints onto a wall, and then had his assistant paint latex onto the white areas and paint thewall with dirt. When the latex was removed, the result was a series of interwoven fingerprints painted with materials that refer to the patternsprevalence in nature. This process can be adapted for use in the classroom.Learning Objectives Possible Activities Resources / NotesExploring & • Look at examples of Drury’s work involving fingerprints. Images of Drury’s work usingDeveloping ideas Discuss his fascination with the pattern and where else the fingerprints. pattern can be found. • Show the students examples of fingerprint patterns. Identify own patterns (see Numeracy / science link).Investigating and making • With magnifying glasses get the students to make careful Magnifying glasses, pencils, observational drawings of their prints; first in pencil then in fine line felt pens, black or white thin black felt pen. wax crayon or oil pastel, powder • Enlarge these to at least A3. Copy the patterns or parts of the paint / pigment, soil or compost. patterns which interest the students the most onto thicker watercolour paper using wax crayon or oil pastel (black or white look best). These can then either be washed / sprayed, sponged, printed or rolled over with earth coloured water colour washes or pigment, or powder paint, or, more authentically, soil (bagged peat free compost). OHP • Alternatively, the drawings could be copied onto acetates, projected onto large sheets of paper on the wall and traced around or use wax relief as above. PAGE FIF TEEN
  • 5.2 Earth fingerprints. (Key Stage 1/2)Learning Objectives Possible Activities Resources / NotesEvaluating & Developing Develop or experiment with reliefIdeas • Paint fingerprint patterns or trickle PVA onto shiny card or PVA paper, rub in pigment / soil then peel off PVA to reveal print. Shiny card, string, printing • Make string and card relief printing blocks - this is good for trays, rollers, block printing exploring repeating and rotating patterns. Rub soil / pigment ink, pigment, soil. into paper and then print finger patterns on top. Incorporating ICT • Scan / photograph line drawings of fingerprints into paint Imaging software, scanner package (‘Dazzle’, ‘Photoshop’ or similar). Experiment with acetates manipulating images by cutting and pasting, filling, using effects. Save and print onto either A4 paper to make up group tiling or onto acetates to hang in light. • Identify strengths & weaknesses in work when presenting to rest of class. How well did they use materials/form/colour etc. and to what effect? • How could they further develop their work? • Maybe send copies of their work to Chris Drury? PAGE SIX TEEN
  • Curriculum LinksActivity Relevant KS Links to curriculum / QCA schemes of works5.1 Visit to ‘Fingermaze’ 1, 2, 3 & 4 Art & Design: QCA schemes • ‘Visiting a museum, gallery or site’ • 1c, ‘What is Sculpture?’ • 2B ‘Mother Nature - designer’ • 7B ‘What’s in a building?’ • 8C ‘Shared view’ • 9C ‘Personal places, public places’ Citizenship: QCA schemes • 6 & 18 ‘Developing our school grounds’ • 9 ‘Respect for property’ / People & the environment KS4 ‘Global issues, local action’ Literacy, Numeracy, D.T. ICT Geography QCA schemes • 1 ‘Around our school’ • 8 ‘Improving our environment’ • 21 ‘How can we improve the area we can see from our window?’ • 14 ‘Can Earth cope?’5.2 Earth Fingerprints 1&2 Art & Design6.1 Debating the 1, 2 & 3 Literacyimpact of environmentalart • Speaking & Listening Drama6.2 Creating an 2,3 & 4 Literacyenvironmental artexhibition • Speaking & Listening • Writing PAGE ICT SEVENTEEN
  • Activity Relevant KS Links to curriculum / QCA schemes of works6.3 Crime against 2&3 D.T.Nature? ICT Art & Design Literacy6.5 Weaving 2&3 Art & Design • QCA scheme ‘2C Mother Nature - designer’6.6 What do you 2,3 & 4 Mathematicsthink? Data Handling • Data Handling Geography ICT Citizenship6.8 Design & make a 2&3 D.T.poster ICT Literacy • Persuasive writing PAGE EIG H TEEN
  • 6. follow up and extension activities6.1 Debating the Impact of Environmental Art KS 3/4AimsTo explore the impact of environmental art on the public.Taken that one of the aims of ‘Fingermaze’ is to draw our attention to wider ecological issuesand the way in which we interact with our world, the piece is good to use as a starting pointfor a discussion or debate about the role of art in communicating ideas.Activities1. Look at the images of ‘Fingermaze’ in the Image pack (slides 8 & 9). Discuss location, materials and form. Explore student’s opinion about the piece. Have any of the students visited the sculpture? How do they feel it might affect the environment of the park? (Could be linked with Data Handling activity 6.6).2. Present the following statements to the students to discuss in the light of Drury’s work: - Can a work of art say a thousand words? Is art an effective way of communicating environmental ideas? - Does art in public places improve our experience of that environment or is there a moreCONTENTS us about our deeper desires? improve our experience of our environment - effective way of doing this? Why do we want to what does this tell ‘Literacy in Art & Design, KS3’ (ref.DfES 0054/2002) has a really useful framework to focus language work.3. Scribe the main points from the discussion and give each group a point to develop into an argument to debate.Extension1. This could be developed into some drama work with students taking the role of a news reporter or pleased / angry park user etc. at the site of ‘Fingermaze’ (use the slide as a backdrop for performance). Data collection could be used as ‘evidence’ to support their points of view. This could be videoed and presented to other classes or schools.2. Have students research other examples of environmental art that have had an impact on the environment (eg. WEEE Man). Ask them to explore them using the same questions above. PAGE nine TEEN
  • 6.2 Creating an environmental art exhibition KS 2/3/4AimsTo identify the common concerns of artists working within the genre of land or environmentalart. To be able to compare and comment on ideas, methods and approaches used in artistswork and relate them to the context in which they were made. To work collaboratively within agroup.Activities1. Introduce the students to the range of artists and approaches within the genre using the image pack and teacher’s notes. Identify common concerns, themes etc.2. Divide class into small groups. Explain to them that they are to be curators of an Environmental Art exhibition - they will get to decide as a group which images can be selected for the exhibition. Selection criteria could either be personal preference or effectiveness at communicating an ecological message. Teachers might want to limit the number of choices each group can make dependent on time and space.3. In their role as the selection committee, each group must present their selections to the rest of the class, explaining their choices with reasons.Extension1. Provide groups with examples of gallery guides or brochures. Explore type of text used. Ask groups to provide own texts to accompany their choices for the exhibition.2. Make a whole class exhibition that is an accumulation of the group’s work. Write a guide, posters and invite younger students to the show. Incorporate ICT in the production of leaflets. (Adapted from Hampshire LEA, Art & Literacy at Key Stage 3) PAGE TWENTY
  • 6.3 Crime against Nature? KS 2/3AimsTo use the sculpture as a starting point for a piece of creative writing.ActivitiesFingerprints are often used by the police to solve crimes. Imagine Hove Police are called to thepark one morning as a giant fingerprint has been left. Who left the print behind? Did they do itintentionally to leave us a message?1. Visit or look at the images of Chris Drury’s ‘Fingermaze’ in Hove Park. Put yourself or students in the role of either a park user or a police officer receiving a call reporting the fingerprint. Scribe the students’ ideas for developing the story. Get the students to describe the form and materials as accurately as possible. Focus on the message that the owner of the fingerprint has left to highlight the ecological aspect of the sculpture. Try to get the students to incorporate this into their work.2. This could be developed into a narrative piece of writing or as a play script and performed at an assembly or to other students.ExtensionYou could adapt this to incorporate other local geographical features or work on myths andlegends e.g. the legend of how Devil’s Dyke was created or the Goldstone that is also situatedin Hove Park. (See Resource sheet 2).PoetryAsk the students to walk the grass path of the labyrinth and jot down words and feelingsCONTENTS they are walking. What can they see, feel, hear, and touch? How doesthat come to mind asit feel on the journey in, at the centre, on the way out? These words could then be arrangedas a shape poem - maybe in the form of a labyrinth (Resource sheet 3 has a template of aCretan labyrinth for jottings or final piece). Look at examples of Richard Long’s textworks thatdescribe walks he has made to inspire the student’s work. Alternatively they could be used forthe inspiration for drawing or painting the landscapes they evoke.Letter writingWrite a letter to the artist expressing your opinions about the work or asking him questions.LeafletDesign a leaflet or poster to let people know about Drury’s sculpture in the park. This could bean information board to be situated next to the piece. (NB: The council has produced a leafletto accompany ‘Fingermaze’ in Hove Park, which you may wish to use as an example). PAGE TWENTY- ONE
  • 6.4 More about mazes and labyrinths ALL AGESAimsTo use a range of non-fiction and fiction texts to investigate the history and culturalsignificance of mazes and labyrinths. To use ICT databases to retrieve information about mazesand labyrinths. To work collaboratively.Activities1. Using either ICT databases or reference books, divide the class into small groups and give each group a small topic to research. Limit web use to specific sites (see links page). Topics could range from the history of labyrinths to more specific topics i.e. ‘Theseus & the Minoatur’ depending on the ages of the students and the approach of the teacher.2. Arrange an ‘information exchange’ where groups devise the best way to share their discoveries with the rest of the class. This could be in the form of a poster, video, slide show or talk etc. Encourage the students to decide for themselves which medium would be best for their chosen audience.ExtensionDraw your own Cretan labyrinth (KS3/4) or maze (KS2).Instructions on how to draw a Cretan labyrinth are included in Resource sheet 4 or an animationfor interactive whiteboards can be found at:www.lesson4living.com/drawing.htmThis could be developed by using the drawing as a basis for making a 3D labyrinth or maze withpapier mâché or ‘Mod-Roc’. Design and make a 3D finger maze for a partially-sighted person. PAGE TWENTY- TWO
  • 6.5 WeavingA staggering 150 million plastic carrier bags are used in the UK every week. On average eachperson will use / consume 290 plastic carrier bags a year (www.recyclenow.co.uk). Plasticcarrier bags are made from polyethylene - a type of plastic that is non-degradable and may takehundreds of years to break down. Although some supermarkets recycle them, they are still ahuge contribution to landfill and pollution. We can reuse bags or take a canvas bag shoppingwith us.Environmental artist Dan Peterman said, “Waste is a resource in the wrong place”.AimsTo expand student’s ideas about materials use. To raise awareness of reusing and recyclingmaterials. To work collaboratively within a group.Activities 1. Ask students to collect a range of plastic carrier bags from home to bring into class. What normally happens to plastic carrier bags in their home? 2. In small groups sort the bags into colours. Are some types of bags more popular than others? The bags need to be split. The best way to do this is with scissors by cutting through the top seams of both handles and then splitting down each side. Open the bag out flat. To have a finer textured weaving, twist the bag into a long thin strip or for a ‘puffier’ texture leave it unrolled. These will be the weft or horizontal ‘threads’. 3. Make a ‘loom’ from an old cardboard box flattened and with grooves cut into the ends. These can be as big or as small as you want. Warp or lengthwise ‘threads’ can be made from black big bags or string slotted into the grooves. This website contains some useful diagrams to explain the process: www.thriftyfun.com/tf517076.tip.html. 4. Weave the carrier bags into the ‘loom’. Tie the carrier bags together - probably three at a time is a manageable length. Tie the bags to the warp and start weaving! Consider colour arrangement. 5. When you have finished weaving and have filled up the loom, tie off the end in the corner. To remove the rug from the loom, cut the warp threads across the top edge of the loom. It is best to cut them two at a time, and then tie them together before cutting anymore.Extension1. One million tonnes of textiles are put into landfill each year in the UK. Old clothing and textiles can be recycled or taken to charity shops instead of being thrown away. Old textiles could also be used in this activity to make ‘rag rugs’.2. Fence weaving - this activity lends itself well to being done outside through weaving old plastic bags through wire fences to make shapes and patterns, which can brighten up school PAGE grounds. TWENTY-TH REE
  • 6.6 What do you think? [Data Handling] ALL AGESAimsTo collect opinions from park users about the artwork. To analyse and present data they havecollected. To use appropriate ICT packages to present their data.Activities1. The theme of the data collection can be adapted for a specific focus. A few suggestions specific to ‘Fingermaze’ are: - Do the park users feel that the sculpture has improved the environment of the park? - Has the sculpture encouraged them to visit the park more often? - Has the sculpture changed the way they use the park? - Do they like the piece? How does the work make them feel? - These could form the basis of a questionnaire or could be used as ‘question cards’ to prompt park users.2. The students should be encouraged to find ways to represent the data they have collected. (See Activity 6.1 ‘Debating the Impact of Environmental Art’). PAGE TWENTY-F OUR
  • 6.7 Make posters ALL AGESArtist included in this pack have sometimes used art to portray an ecological message. Is thiseffective? Are posters a simpler, more direct way of getting across an idea or encouragingpeople to change their actions?Aims AimsTo explore a range of public information posters and advertisements. To discuss their impactand effectiveness. To produce own poster to communicate an environmental fact to encouragepeople to reduce, recycle and reuse resources.Activities1. Brainstorm anything that the students have seen or heard that has encouraged them to think more carefully about their behaviour and changing their behaviour, in relation to environmental issues. Discuss tactics employed in these examples e.g. some road safety TV advertisements use shock tactics. Try to list campaigns specifically aimed at environmental issues.2. Use the web links to find out facts to use in their own poster e.g. a common presumption is that individual action isn’t enough to bring about change, however, one fact is: ‘The energy saved by recycling one plastic bottle will power a computer for 25 minutes’. Encourage the students to steer away from broad slogans such as ‘Recycle now – it’s good for the planet’ and use lesser known facts and aspects or facts relating specifically to their local environment. www.bpec.org Brighton Peace & Environment Centre’s website www.magpie.coop Brighton & Hove’s recycling co-operative www.recyclenow.com/facts/index.html www.chemsoc.org/ExemplarChem/entries/2004/bristol_whitehead/facts.htm www.southernwater.co.uk/educationAndEnvironment/ www.brighton-hove.gov.uk/citycleanExtensionUse ICT in design and layout. Incorporate photos from around the immediate environment.Use as part of an environmental campaign in school to change behaviour in school. PAGE TWENTY-F IVE
  • 7. Resource Sheets1. Original commission brief for Park Art to accompany lesson 12. Legend of Devil’s Dyke and the Goldstone3. Cretan labyrinth template4. How to draw a Cretan Labyrinth5. Artist’s statement – Karen MoserCONTENTS PAGE TWENTY- SIX
  • Resource sheet 1 (for KS3 extension)Project brief for ‘Park Art’ Commission KS 2/3/4“Aims Brighton and Hove Arts Commission is excited to offer a commission for artwork that will enhance people’s experience of the City’s green spaces and communicate the contemporarymessage of environmental awareness. The commission is offered for an artistic input into at least2 parks or open spaces in the City, one of which must be Hove Park. It must result in at least onepermanent work of art in Hove Park but can incorporate less permanent forms of art or performanceas part of the overall commission.Three underlying themes have been identified for the work, all of which should be acknowledgedwithin proposals for the commission. The themes are:1. Linkage. We are keen to explore ways in which we can connect individual parks, gardens and open spaces within the City (and possibly beyond) with a view to encouraging usage and awareness of the number and range of the City’s parks, gardens and open spaces (connectivity, exploration and awareness).2. Local distinctiveness. We are looking for something that acknowledges links to the local identity of spaces within the City, i.e. work should be site specific and therefore be developed out of and in response to its site, for example, with reference to the site’s physical nature, environmental connections, history, etc. “3. Interactivity. We would like to see an element of involvement enabling active participants as well as passive observers, for example, artwork that may also be a focus for education, performance or play. PAGE TWENTY- SEVEN
  • Resource sheet 2The legend behind the creation of Devil’s DykeLocal folklore explains the valley as the work of the devil. The legend states that the devil wasdigging a trench to the sea to flood Sussex. He wanted to do this to flood all the churches ofthe Weald. His digging disturbed an old woman who lit a candle, causing a rooster to crow;making the devil believe the morning was fast approaching. The devil then fled, leaving histrench incomplete. It is said that as the clumps of earth from his digging landed, they formedthe nearby Chanctonbury Ring, Cissbury Ring and Mount Caburn.Another story holds that rather than digging to flood the county, the Devil was simply in a hugegoat-like form, intending to crush the surrounding area. He smelt the tang of salt water in thewind, and fearing his coat would get damp, he fled leaving nothing but a hoof-print – the formof the Dyke.The legend behind the Goldstone in Hove ParkPart of the legend of the creation of the Devil’s Dyke is that in his rage at being disturbed fromhis work, the Devil threw down a stone - the Goldstone (or Godstone) that is now at the southentrance of Hove Park. It is said that a human face can be seen on one side of the stone.CONTENTS PAGE TWENTY-eight
  • Resource Sheet 3Cretan Labyrinth template KS 2/3/4Aims PAGE twenty-nine
  • Resource Sheet 4How to draw a Cretan Labyrinth1. Draw a cross. Now draw an ‘L’ in each of the four quadrants and place a dot at each angle ofCONTENTS ‘seed’ of the labyrinth. (fig.1). (Start with the seed in the centre of your the ‘L’. This is the page to allow enough room for the labyrinth to grow).2. Place your pencil at the top of the cross and draw a curve connecting this line to the next line to the right. (fig.2)3. Now move to the top of the next line on the left and connect it to the next dot on the right.4. Continue connecting each line and dot, always moving from top left to next unconnected line or dot on the right.5. Your completed labyrinth should be one continuous route to the centre. PAGE TH IRTY
  • Resource Sheet 5Artist’s statement - Karen Moser KS 2/3/4“ Aims Recycled materials frequently find their way into my artwork and I think that this comes from both an awareness of the throw away age we live in and my personal need ‘not to waste’.Another factor in my choice of materials is my desire to draw new meaning out of objects that aregenerally regarded as mundane or just plain rubbish. To question society’s sense of value seemsa worthy cause and is a recurring theme in my work. While the ‘Enlightening Globes’ installationexpresses environmental concerns through it’s use of ‘throw away’ materials ranging from sea-worn glass to bottle tops, ‘The Discarded Regarded’ installation addresses paper informationbombardment and although the spheres are ceramic, paper was used in their formation which laterburned away in the firing process. Perhaps my use of tumble dryer fluff in ‘Sheddings’ is my mostquirky use of recycled materials. I played no part in the formation of these samples; just removedthem from the machine and displayed them in a wooden case. “I am presently working on forming a series of boxes from used brochures, etc. and also using paperthat I have printed my own images and text onto. This is work in progress but these little boxeshave started to take on their own identity and are constantly generating new ideas.Please email Karen at: Karen.moser@virgin.net PAGE TH IRTY - ONE
  • 8. LINKSGENERALBrighton & Hove City Councilwww.brighton-hove.gov.ukwww.brighton-hove.gov.uk/citycleanwww.brighton-hove.gov.uk/sustainabilityKings House, Grand Avenue, Hove, BN3 2LS(01273) 290000Brighton & Hove Arts Commissionwww.brightonandhoveartscommission.org.ukKings House, Grand Avenue, Hove, BN3 2LS(01273) 293906Chris Drurywww.chrisdrury.co.ukwww.heartofreeds.org.ukwww.villamontalvo.org/va_drury.html (‘Fingerprint Mural’)Land and environmental art & artistsArtistsRobert Smithson [www.robertsmithson.com | www.spiraljetty.org]James Turrell [www.pbs.org/art21/artists/turrell/index.html]Andy Goldsworthy*[www.sculpture.org.uk/artists/AndyGoldsworthy | www.eyestorm.com/events/goldsworthy]Richard Long [www.richardlong.org]CONTENTSChristo [www.christojeanneclaude.net]David Nash [www.annelyjudafineart.co.uk]Red Earth [www.redearth.co.uk]Richard Box [www.richardbox.com]Mark McGowan [www.markmcgowan.org]Douglas White [www.whitehousearts.com]Simon Starling [www.tate.org.uk/britain/turnerprize/2005/simonstarling.htm ]Delete! Project [www.steinbrener-dempf.com] PAGE TH* A video/DVD documenting Goldsworthy’s work “Rivers and Tides: Andy Goldsworthy Working with Time”[VHS and DVD] Color, 90 min. New Video Group, 2004. IRTY --two
  • Land and Environmental Art KS 2/3/4 AimsGreen museum [www.greenmuseum.org]An online museum with a huge range of environmental art. Good ‘educators toolbox’ forteachers and reference for KS3+Lists art movements & artists [www.the-artists.org]General Environmental educationLearning through Landscapes [www.ltl.org.uk]Art and environmental activities [www.naturegrid.org.uk/expart/index.html]The Council for Environmental Education [www.cee.org.uk]Eco-Schools [www.eco-schools.org.uk]Arts & Ecology [www.thersa.org.uk]Friends of the Earth [www.foe.co.uk]Brighton & Hove Peace & Environmental Centre [www.bpec.org]The Green Pages [www.bpec.org/node/48]The Earthship, Brighton [www.lowcarbon.co.uk]Carbon balancing [www.clevel.co.uk]Sustainable Technology (KS3) [www.stepin.org]National Association for Environmental Education [www.naee.org.uk]Labyrinths & MazesGeneral background info about Cretan labyrinths [www.uucfl.org/labyrin.htm]Animation on drawing labyrinths[www.lessons4living.com/drawing.htm]General history and significance (KS2-3) [www.labyrinthos.net] PAGE THExamples of mazes to solve and copy (KS 1-3) [www.mazes.org.uk] IRTY -three
  • Resources & suppliersNatural, reclaimed or recycled materialsWillow or Withies for sculptural work:Jacobs Young & Westbury LtdBridge RoadHaywards HeathWest SussexRH16 1UATel: 01444 412411 | Fax: 01444 457662 | Email: sales@jyw-uk.comMusgrove Willows, Somersetwww.musgrovewillows.co.ukThey also supply living willow shoots for growing tunnels/shelters etc.Scrap storesScrap stores aim to reduce the amount of material being sent to landfill for recycling by col-lecting unwanted materials from local businesses and offering them usually on a subscriptionbasis. They can provide some excellent and unusual materials for 3D modelling work. Thenearest stores to Brighton & Hove are:Alchemist Scrap StoreWorthing. Meadow Road Depot, Meadow Rd. WorthingTel: 01903 239999 | www.the-alchemist.org.ukCONTENTSFlotsam & Jetsam Scrap StoreLewes. Based at the Community Recycling Centre, North StreetTel: 01273 486619 | Email kerbside@lewes.gov.ukMagpie recycling Co-opwww.magpie.coopBrighton and Hove Wood Recycling ProjectUnit 32-36 Municipal Market, Circus Street, Brighton BN2 9QFTel: 01273 570 500 | www.woodrecycling.org.uk PAGE TH IRTY -F OUR
  • THANKS KS 2/3/4AimsThis resource has been commissioned by Brighton & Hove Arts Commission and Brighton &Hove City Council.The resource has been funded through the Urban Cultural Programme. Additional funding hasbeen provided under the ‘% For Art’ scheme by Mountgrange (Hove) Ltd. PAGE TH IRTY -Fivedesign: www.juxprose.com