An annual art competition for schools in Fife organised by the Museum of the University of St Andrews.

Transcription

1 MUSA Young Artist Award 2017 Telling Tales Secondary 1 Secondary 3 Resource Pack An annual art competition for schools in Fife organised by the Museum of the University of St Andrews. Pupils can win art vouchers worth up to 40 as well as a specially commissioned medal. Winning artworks will also be displayed at the Byre Theatre in St Andrews.

2 1 Contents What is the MUSA Young Artist Award and how do I take part?...2 What will happen in a classroom visit?...3 Preparation for a visit 5 Follow-up and additional activity ideas 6

3 2 What is the MUSA Young Artist Award and how do I take part? The MUSA Young Artist Award is an annual art competition for schools in Fife organised by the Museum of the University of St Andrews. Each year pupils attend workshops at the museum or receive classroom visits from museum staff allowing them to develop inspiration and skills which they can draw upon to create artworks on a particular theme. Pupils are encouraged to submit their work to the competition, giving them the chance to win up to 40 of vouchers for art materials, a specially commissioned medal and a certificate for their school. Winning artworks will also be displayed at the Byre Theatre in in St Andrews. The theme for 2017 is Telling Tales. Workshops aim to investigate the ways in which stories and storytelling are portrayed in art and are planned to incorporate relevant aspects of the Curriculum for Excellence as well as to give pupils first-hand experiences of objects and artworks which might not be otherwise available to them. Sessions can booked to take place at MUSA or in your classroom during the spring term by phoning or ing museumlearning@st-andrews.ac.uk. The closing date for the competition is Friday 31 st March D entries or photographs of 3D entries should be sent to: Matt Sheard Learning & Access Curator Museum Collections Unit University of St Andrews 87 North Street St Andrews Fife KY16 9AE Please read the full rules carefully before submitting your entries. Rules, along with further resources, information and winning entries from previous years, can be found on the MUSA Young Artist Award website at For more information contact Matt Sheard, Learning & Access Curator, on or museumlearning@st-andrews.ac.uk.

4 3 What will happen during a classroom visit? Museum staff will discuss a preferred approach with schools at the time of booking in order to tailor sessions to the needs and desires of teachers. The following is a template for a standardised session and can be adapted in terms of content and length as teachers and museum staff deem appropriate. Learning outcomes S1-S3 sessions will usually have the following learning outcomes (the references in brackets are the Curriculum for Excellence experiences and outcomes to which these contribute): - To explore the different ways meaning and emotions can be conveyed through art and objects which tell a story about religious and historical figures. (LIT 4-02a, SOC 4-02a, RME 3-01a, EXA 3-07a, EXA 4-07a). - To respond personally to the theme Storytelling, and convey these thoughts, feelings, emotions and ideas in visual form. (HWB 3-O1a/HWB 4-02a, LIT 3-06a/LIT 4-06a, LIT 4-10a, EXA 3-03a, EXA 4-03a, EXA 4-05a). - To explore and develop experience with new artistic mediums, working in both two and three dimensional form. (EXA 4-02a, EXA 4-04a, EXA 4-05a). - To engage with, respond to and have the opportunity to be inspired by items from the University of St Andrews historic and artistic collections. (EXA 3-07a, EXA 4-07a, SOC 3-04a, ENG 3-19a, ENG 4-19a). Practicalities Session length can be adapted to the needs of schools. Ideally sessions will last two hours which can be taken as a double period. Single one hour sessions with museum staff can focus on the Themes section below, with artwork creation carried out under the direction of the teacher in separate sessions without the aid of museum staff. Sessions should take place in an art classroom. The sessions will be delivered by two of the museum s specialist learning staff. Museum staff will bring most materials with them. Schools should provide standard items such as pencils and paintbrushes. Themes Representing narrative Students will look at different approaches to narrative in art. First, by using the cartoon Experimental Lecture on the Powers of Air by James Gillray to inspire the creation of their own storyboard, thus creating a narrative solely in pictures. Following this, students will explore artistic intent by comparing and contrasting the composition of St Salvator s College Mace and the painting of Mary Queen of Scots at Fotheringhay by John Duncan. They will analyse the impact that these artistic choices have on their personal engagement with the painting. Contemporary Art Creation Pupils will consider a new genre of art known as Altered Books, which explores the role books play in our increasingly digital society. Pupils will explore contemporary and innovative artistic technique by repurposing books to create their own piece inspired by this new artistic medium.

5 Artwork creation Students will choose a story, myth, fairytale or legend to inspire their own artistic creation. During the workshop students will use the art techniques they have learnt to tell their chosen story. They will create an image following both the traditional illustration technique of nib pen and ink and the contemporary sculptural style of Altered Books. Students can combine these styles with their chosen story to personally and emotionally respond to the concept of narrative and storytelling in art. 4

6 5 Preparation for a visit Preparation for a MUSA Young Artist workshop is not necessary. However, it can be helpful for teachers to prepare their groups for a workshop. The following optional activities can be used to help in this preparation. Images of all the artworks and objects referred to are available on the Gallery page of the MUSA Young Artist Award website. Which Moment to Choose? In the workshop, students will compare narrative representation and artistic intent in two artworks. This activity is intended to encourage pupils to take notice of the intentional composition and representative choices an artist makes. Show the pupils images of the paintings Cardinal Beaton Besieged by James Lockhart and The Death of Archbishop Sharpe by John Opie (numbers 4 and 5 on the Gallery Page). Encourage the students to compare the two images in terms of their own personal, emotional response. How have the artists created mood? What do they notice about the paintings? How do the two compare? Now provide a little more information about the two historical figures depicted. How does this change their understanding of the painting? Which part of the story have the artists chosen to represent and why? Would they have chosen a different moment? Encourage then to quickly sketch out a new composition for their chosen scene. As a class, place all the sketches together and reflect on the different (or similar) representations pupils have created. Ask pupils to share with why they chose a specific composition or layout and the effect they intended to have on the viewer. Creative Cartoons In the workshop, pupils will explore the techniques of storyboarding and pen and ink illustration. The aim of this preparatory activity is to encourage students to consider the different ways to use images to accompany or illustrate a story. As a class look at the cartoon images by James Gillray on the Gallery Page (numbers 2 and 3). Discuss as a class what stories these images might accompany. Pick one of the figures within the illustration and give them a name, hobbies, family members and other elements of a backstory. Ask each pupil to illustrate a new scene for this character. Using the cartoons as a model, focus on drawing in black with a limited colour palette.

7 6 Follow-up or additional activity ideas The following ideas can be used to build on what students have learnt during a workshop. All images referred to can be found on the Gallery Page of the MUSA Young Artist Award website. Representing Narrative Imaginary Worlds Stories and fairy tales are often associated with childhood and encourage personal nostalgia and reminisce. In the workshop pupils brainstormed familiar stories and tales. The much loved character of Peter Pan was created by the Scottish author J.M. Barrie (Gallery Page number 12). Peter spends all his time in the mystical land of Neverland. Many fairytales take place in a magical realm or place, where the usual laws of nature do not apply. Begin a session by considering a variety of fairy tales and the unusual activity which goes on in each. In Peter Pan, for example, children never grow up and Peter can fly. Encourage students to create their own magical land and think about which natural laws they would change. Perhaps they can fly, or animals can talk. They might change just one thing, or many. Encourage pupils to create their own fantastical world and illustrate it using the monochrome pen and ink technique explored in the workshop. Curriculum for Excellence: (EXA 3-02a, EXA 4-03a, EXA 4-02a, EXA 4-05a). Sequencing Stories During the workshop students will explore the process of creating a sequence of images to form a narrative in a short storyboard or cartoon. Like cartoons, stained glass is often used to present a story in a sequence of images create a narrative which works across the window. Look at the Chalmers Stained Glass Window (Gallery Page number 6), which features three Biblical Scenes of the Sermon on the Mount, the Last Supper and the Raising of Lazarus. Encourage students to discuss why these three scenes have been chosen to represent Jesus life. What themes or ideas run throughout all three stories? Pupils should create a piece inspired by the stained glass window that focuses on reducing a chosen narrative into a limited number of frames. Curriculum for Excellence: (EXA 3-02a, EXA 4-03a, EXA 3-03a, EXA 4-03a, EXA 4-05a, EXA 4-07a, RME, 3-01a, RME 4-01a).

8 7 Cross-curricular work with English Art can be an effective way for pupils to express emotions and ideas. Encourage pupils to use the techniques and ideas discussed in the classroom visit to respond to a story or poem that they are studying in English. They should consider the narrative being conveyed and attempt to create the same ideas in their artwork, focusing on the emotional context of the story. Curriculum for Excellence: (EXA 3-03a, EXA 4-03a, EXA 4-04a, EXA 4-07a, LIT 3-01a, LIT 4-01a, LIT 3-06a, LIT 4-06a, ENG 3-19a ENG 4-19a). Cross-curricular work with Social Studies Consider one or more of the Reformation paintings in our collection which depict historical events (Gallery page numbers 1, 4, 5, 8 and 9). Compare these images to historical or scholarly accounts of the event. How do they differ? Do the paintings accurately represent the event? Why or why not? Are they reliable sources? Should these artworks be considered more as illustrations than evidence? Choose a historical event being studied in school and use it to inspire an artistic response. Pupils should consider what information or message they want to convey through their own visual representation of the event. Curriculum for Excellence: (EXA 3-03a, EXA 4-03a, EXA 4-04a, EXA 4-07a, SOC 3-01a, SOC 4-01a, SOC 3-06a, SOC 4-06a). Contemporary Art Creation Paper, Paper, Paper During the workshop pupils considered how the role of books is changing in our society. Consider the impact of digital technology on paper-based systems and sources of information, such as reference books and encyclopedias, phone books, maps and newspapers. Look again at the Edinburgh book sculptures. More information and a video is available here: Why might the artists have been inspired to recreate these specific books and stories? What motivated the artist to create these pieces? How do they manipulate paper to create new and unusual artworks? Pupils can collect newspaper, phone directories or magazines to create a piece based on the techniques explored during the workshop. Curriculum for Excellence: (EXA 3-02a, EXA 4-02a, EXA 4-05a, EXA 4-07a, SOC 4-08a, SOC 4-10a, TCH 4-01a, TCH 4-01c). In the News On display in the Bell Pettigrew Museum (our natural history collection) are a number of artworks by the local artist Paul Bartlett. Bartlett is a wildlife artists who works with mixed media and collage. He uses scientific papers about an animal as the collage background and employs papier-maché and paint to create the animal over the top. You can see examples of his work on The Airport Gallery website:

9 As a class discuss a story which has been in the news recently. Use the article (from the newspaper itself or printed from a news website) as a background and paint a related image over the top. Before starting, pupils should reconsider the comparison techniques discussed during the workshop and in the What Moment to Choose? activity in this resource pack (page 5). Encourage students to think carefully about which part of the story they want to paint and what impact they aim to have on their viewer. Curriculum for Excellence: (EXA 3-02a, EXA 4-02a, EXA 3-03a, EXA 4-03a, EXA 4-05a, LIT 3-06a, LIT 4-06a). 8

10 9 The MUSA Young Artist Award 2017 Telling Tales Secondary 1 Secondary 3 Resource Pack Front cover image by Duncan Stewart All images Museum Collections University of St Andrews This pack can be reproduced for educational purposes only.